In-depth analysis of the artistic expression of paper-cut elements in the design of boat space

Xiaoli Liu; Kailin Shi; Wenjie Deng

Dettagli rivista e numero

Applied Mathematics and Nonlinear Sciences

Dettagli della rivista

Formato: Rivista
eISSN: 2444-8656
Prima pubblicazione: 01 Jan 2016
Frequenza di pubblicazione: 2 volte all'anno
Lingue: Inglese

China’s shipbuilding industry has been in the forefront of the world for a long time in history, and data show that since 2003, China’s shipbuilding industry has entered the track of rapid development [1, 2]. The scale of the industry continues to grow, the output of shipbuilding continues to increase and the number of existing orders and completed orders ranks among the best in the world. The country’s high attention and continuous technological improvement and innovation have made China the third largest shipbuilding country in the world [3]. However, China’s shipbuilding industry is largely only technological progress and leadership, and its exploration in design fields such as styling and interiors is far less than that of Europe and the United States. Design should have played an important role [4–6]. In particular, the interior design of Chinese ships is a basic set, and in many cases, it only meets the functional requirements of specific types of ships, and the exploration in terms of design and living experience is still very simple. The independent design work often needs to be carried out along with the construction process. There is no clear style orientation. The design of each type of ship is relatively messy. There is no set of sound design methods [7–9]. The proportion of space design cost in China’s shipbuilding cost is shown in Table 1 [10, 11]. It can be seen from Table 1 that the proportion of cost is relatively small, which means that due to the reduction of design cost and the imperfect construction level, the quality and design sense of marine supporting facilities are much inferior to those of similar ships in other countries, which is not only passive in construction. The number of production has also dropped significantly [12].

Table 1

The proportion of space design cost in China’s shipbuilding cost

Boat type	The proportion of space design cost (%)
Yacht	13
Passenger ship	34
Engineering ship	31
Fishing boat	28

However, the foreign ship interior design has become mature, and before the ship is manufactured, there will be a relatively clear positioning and design for the interior [13–15]. On the one hand, the fundamental reason for this gap is that China has always paid little attention to ship design. The focus of ship manufacturing is often on the side of technology, and the investment in design is very lacking. When it comes to the design process, only basic man-machine is often considered. On the other hand, it is the difference in the user groups. The types of Chinese ships are generally military ships and ordinary passenger and cargo ships, and the users are generally professional personnel such as crew members [16, 17]. In contrast, in the United States, there is one boat (including small boats) for every 15 people. The foreign ship ownership rate is so high that foreign ships seem to have changed from a means of transportation to a tool of life [18]. Wang [19], a boat research scholar, mentioned that in boat space design, the sense of experience and design ideas must work together and cannot exist independently. There is interaction between the two, and they cannot exist independently of behaviour. Kang [20] and Bell et al. [21] believe that space design should be regarded as the core content of boat manufacturing, and it has also become an element that needs to be taken seriously in other manufacturing industries. Gross [22] proposed that the research content of boat space design is the relationship between related elements and people. Cowen [23] expounded the basic characteristics of the beauty of ship architecture, analysed the formal beauty of ship architecture and the art of ship architecture in detail and analysed examples, which provided a strong basis for the analysis of the aesthetics of this text. Combined with the above discussion, the content of boat space design theory is relatively complicated. It is worth discussing that the research centre of boat space design is different sense of space and the interaction between space and people. While discussing the space design, it is also necessary to study the changes in the comfort level and behaviour of people in the indoor environment [24, 25].

As a two-dimensional figure, the application of this graphic art to space is a transformation from the two-dimensional form to the three-dimensional form [26–28]. Using the hollowing technique of paper-cut art, it is applied to the space design of boats, forming an art form mainly based on the visual experience of emptiness and virtual reality [29–31]. Incorporating paper-cut elements into the design of boat space can effectively combine the characteristics of boat space and traditional Chinese culture to develop a boat accommodation space with characteristics and paper-cut cultural characteristics, which provides dual benefits for boat space design issues and Chinese traditional culture publicity. As an artistic treasure in traditional national culture, paper-cut art is one of the oldest folk arts in my country [32]. The art of paper cutting has been continuously inherited and developed and has its own unique national cultural heritage. Papercuts in different forms have their own language connotations and rich meanings, which reflect people’s production and life, enrich people’s spiritual life and express people’s yearning and pursuit for a better life.

With the development of the times, the space design of boats has become the demand and development trend of the society and is loved by the public. In today’s boat space design, the focus is on the functional design, and the boat space design is the unity of function and style, and the humanized design cannot be separated from the particularity required by people [33–35]. In view of this situation, this paper, based on Chinese folk paper-cut art, combines theoretical analysis with empirical research, deeply analyses the artistic expression of paper-cut elements in the design of boat space and mainly studies the decorative effects of paper-cut elements in boats. There is artistic fusion in design and the artistic fusion of paper-cut elements in the practical design of boats.

Research on the analysis model of paper-cut elements based on the sparse autoencoder (SAE) algorithm

For the design of boat space, the integration and applicability of paper-cut elements in boats are the difficulty and the key point, which is related to the aesthetics of boat space design and the use of other functions. Fusion and applicability establish a deep analysis model based on the SAE algorithm.

2.1

Research on the SAE algorithm

The SAE adds sparsity constraints to the objective function and forces the feature layer (hidden layer) to be sparse by means of sparsity penalty, so as to better discover the hidden information in the data. ‘Sparse’ means limiting neurons to 0 or close to 0 values. KL divergence can measure the similarity between two probability distributions and is often used as a sparse penalty term. KL divergence is defined as follows: 1 $J_{s} = K L = \sum_{j = 1}^{m} ρ \log (\frac{ρ}{{\hat{ρ}}_{j}}) + (1 - ρ) \log (\frac{1 - ρ}{1 - {\hat{ρ}}_{j}})$

The corresponding objective function is as follows: 2 $J = J_{A E} + \frac{λ}{2} J_{r} + β (\sum_{j = 1}^{m} ρ \log (\frac{ρ}{{\hat{ρ}}_{j}}) + (1 - ρ) \log (\frac{1 - ρ}{1 - {\hat{ρ}}_{j}}))$ 3 $\begin{aligned} {\hat{ρ}}_{j} = \frac{1}{N} \sum_{i = 1}^{N} h^{(i)} \end{aligned}$ where ρ is the sparsity parameter, ${\hat{ρ}}_{j}$ is the average activation value per dimension and β is the sparsity of the sparsity penalty term. When and ${\hat{ρ}}_{j}$ are equal, KL reaches a minimum value of 0. Therefore, the eigenvalues can be sparse by setting smaller ρ.

In order to improve the robustness of AE to disturbance and noise, the contractive autoencoder (CAE) adds a Jacobian penalty term to the objective function, which is defined as follows: 4 $J = J_{A E} + δ J_{J} = \frac{1}{2 N} \sum_{i = 1}^{N} {‖ x^{(i)} - y^{(i)} ‖}_{2}^{2} + \frac{δ}{2 N} \sum_{i = 1}^{N} {‖ J_{J} (x^{(i)}) ‖}_{F}^{2}$ where $J_{J} (x^{(i)})$ is the Jacobian matrix. Jacobi is the first-order derivative of the feature value to the input, which reflects the sensitivity of the feature to the input change. Through the Jacobian penalty term, the stable features can still be learned when the input x changes, and then, the information and inherent characteristics in the training data can be mined.

2.2

SAE-paper-cut element analysis model research

The paper-cut element analysis model based on the SAE algorithm includes two main steps: cluster analysis of training samples by K-means and calculation of similarity between classes.

First, the cluster analysis of the paper-cut element analysis model is studied. K-means is a simple and commonly used cluster analysis method, which is very suitable for the clustering of convex clusters. Because of its simplicity and effectiveness, this chapter uses K-means to perform cluster analysis on training samples. Assuming that the training sample set is ${x^{(i)}}_{i = 1}^{K}$ , the sample label is ${y^{(i)}}_{i = 1}^{K}$ , and K-means outputs C arithmetic mean of the cluster centres ${c d^{(j)}}_{j = 1}^{C}$ . C represented the number of class labels, and the index value $i n x^{(i)}$ of the centre closest to each sample $x^{(i)}$ can be calculated according to the clustering results, as follows: 5 $i n x^{(i)} = {k | D {x^{(i)}, c d^{(k)}} \leq D {x^{(i)}, c d d^{(j)}}}, \forall j = 1, 2, \dots, C$ 6 $D (x^{(i)}, c d^{(j)}) = {‖ x^{(i)} - c d^{(j)} ‖}_{2}^{2}$

According to the real label and index value of the sample, a C-order matrix A can be calculated, where A is the distribution of the sample in each cluster. Any element $A_{m j}$ represents the total samples number of the $c d^{(j)}$ cluster centre and the true label m. The specific calculation method is as follows: 7 $A_{m j} = \sum_{i = 1}^{K} 1 {1 {y^{(i)} == m} & & 1 {i n x^{(i)} == j}}, m, j = 1, 2, \dots, C$ where $1 {\cdot}$ is the indicator function; the result is 1 when the expression in parentheses is true and 0 otherwise.

First, the computational inter-class similarity of the SAE-paper-cut element profiling model is studied. According to experience, samples belonging to the same cluster have similar characteristics; so, the similarity between cluster m and cluster n is defined as $S_{m n}$ and can be calculated by the following Eq. (8): 8 ${\begin{cases} S_{m n} = \frac{1 {A_{m s} \leq A_{n}} {A_{m}}^{T} + 1 {A_{n} < A_{m}} {A_{n}}^{T}}{min (\sum_{j = 1}^{C} A_{m j}, \sum_{j = 1}^{C} A_{n j})}, & i f m \neq n \\ S_{m n} = 0, & i f m = n \end{cases},$

In Eq. (8), A_m, A_n – the m-th row and the n-th row of matrix A. $1 {A_{m} \leq A_{n}}$ – a Boolean vector. The element in the Boolean vector is 1 if the elements in A_m, A_n satisfies the ‘≤’ relation, and 0 otherwise. $1 {A_{n} < A_{m}}$ – a Boolean vector. If the elements in A_m, A_n satisfy the ‘>’ relation, the elements in the Boolean vector are 1, otherwise 0.

The numerator calculates the total number of similar samples in cluster m and cluster n. Considering the order of magnitude, it can be seen that S_mn is equal to S_nm; so, the similarity matrix S is a symmetric matrix, and the diagonal elements are 0. According to Eqs (6) and (7), the similarity between clusters can be calculated, see Eq. (9) for details.

9 $\begin{aligned} \begin{matrix} C e n t r o i d 1 & C e n t r o i d 2 \end{matrix} \\ A = \begin{matrix} C l a s s l : \\ C l a s s 2 : \end{matrix} & [\begin{matrix} A_{11} & A_{12} \\ A_{21} & A_{22} \end{matrix}] = [\begin{matrix} 2 & 4 \\ 4 & 1 \end{matrix}] \end{aligned}$

Based on the SAE algorithm assignments obtained in Section 2.1, a SAE-paper-cut elemental profiling model is proposed to automatically extract discriminative fault features from high-dimensional sensor data. The Gaussian mixture model (GMM) is used to fit the probability distribution between the features and the sample labels to realise feature identification and fault mode diagnosis.

Assume that the samples and labels in the subset ${S X_{j}, S T_{j}}$ are ${x^{(i)}, y^{(i)}}_{i = 1}^{N_{S X_{j}}}$ , where $x^{(i)} \in S X_{j}$ , $y^{(i)} \in S T_{j}$ and N_{SX_j} represents the sample size. For each sample, the SAE-paper-cut element analysis model uses Eq. (9) instead of Eq. (1) to calculate the value of the hidden layer: 10 $h = r (\frac{1}{1 + e^{- W x + b}})$ 11 $r_{i j} = {\begin{cases} 1, & if i = j & & r a n d > p \\ 0, & else \end{cases},$

In Eq. (10), W represents the connection weight, b represents the bias term, r represents the drop matrix, p represents the preset probability value and r represents the [0, 1] interval, a random number that satisfies the uniform distribution.

By setting r_ij to 0 with a certain probability, some hidden neurons are disabled to form a non-fully connected SAE-paper-cut element analysis model. Through this technique, the overtraining of connection weights can be avoided, and the generalisation ability of the SAE-papercut element analysis model can be enhanced.

In order to fine-tune the SAE-paper-cut element analysis model, an output layer is added after the hidden layer, as shown in Eq. (12); the output vector ${\hat{y}}^{(i)} \in R^{C \times 1}$ is calculated first: 12 ${\hat{y}}^{(i)} = \frac{1}{1 + e^{- (W h_{T} + b)}}$

In Eq. (12), $W \in R^{C \times m T}$ – the connection weight between the output layer and the last hidden layer; $b \in R^{C \times 1}$ – the bias term between the output layer and the last hidden layer; $h_{m T} \in R^{m T \times 1}$ – the value of the last hidden layer; C – the number of categories.

The error between the output value $\hat{y}$ and the expected output $\hat{e}$ can be calculated by the following Eqs (13) and (14): 13 $E = \hat{y} - {\hat{e}}_{2}^{2} = \frac{1}{2 N_{S X_{j}}} \sum_{i = 1}^{N_{S X_{j}}} {‖ {\hat{y}}_{i} - {\hat{e}}_{i} ‖}_{2}^{2} = \frac{1}{2} \sum_{i = 1}^{N_{S X_{j}}} \sum_{k = 1}^{C} {({\hat{y}}_{k i} - {\hat{e}}_{k i})}^{2}$ 14 $s . t . \sum_{i = 1}^{C} {\hat{e}}_{i 1} = 1, {\hat{e}}_{i j} \in {0, 1}$

In Eq. (13), ${\hat{e}}_{k}$ is a column vector; all elements are 0, except one is 1 to indicate the category of the sample. According to the error E, calculate the partial derivatives to the weights and biases: 15 $\frac{\partial E}{\partial W} = \frac{\partial E}{\partial {\hat{y}}_{i}} \frac{\partial {\hat{y}}_{i}}{\partial W} = \frac{1}{N_{S X_{j}}} \sum_{i = 1}^{N_{S x_{j}}} ({\hat{y}}_{i} - {\hat{e}}_{i}) \otimes {\hat{y}}_{i} \otimes (1 - {\hat{y}}_{i}) \cdot {(h_{T})}^{'}$ 16 $\frac{\partial E}{\partial b} = \frac{\partial E}{\partial {\hat{y}}_{i}} \frac{\partial {\hat{y}}_{i}}{\partial b} = \frac{1}{N_{S X}} \sum_{i = 1}^{N_{S x_{j}}} ({\hat{y}}_{i} - {\hat{e}}_{i}) \otimes {\hat{y}}_{i} \otimes (1 - {\hat{y}}_{i})$

Note that $h_{0} = x$ , $W_{m T + 1} = W$ , $b_{m T + 1} = b$ , that is, the 0 index value corresponds to the input layer and $m T + 1$ corresponds to the output layer. All weights and biases are updated using the following Eqs (17) and (18): 17 $θ = θ - l r_{c u r} \frac{\partial E}{\partial θ}, θ = {W_{1}, W_{2}, \dots W_{m T}, W, b_{1}, b_{2}, \dots b_{m T}, b}$ 18 $l r_{c u r} = (1 - \frac{E_{c u r} - E_{p r e}}{E_{p r e}}) * l r_{p r e}$

In Eq. (18), $l r_{c u r}$ and $l r_{p r e}$ represent the learning rates of the current iteration and the previous iteration, respectively; E_cur and E_pre represent the error values of the current iteration and the previous iteration, respectively.

The fine-tuning of the SAE-paper-cut element analysis model is an iterative process; in this paper, the number of iterations is set to 100, and the initial learning rate is 0.1. According to the change of the error E, the adaptive update learning rate can speed up the convergence and prevent the oscillation.

From ns subset, ns SAE-paper-cut element analysis model is trained. For each sample x⁽ⁱ⁾, ns eigenvectors ${f_{k}^{(i)}}_{k = 1}^{n s}$ can be obtained separately and connected to form the final eigenvector: 19 $f^{(i)} = [f_{1}^{(i)}, f_{2}^{(i)}, \dots, f_{n s}^{(i)}]$ where f⁽ⁱ⁾ is the characteristic of the sample x⁽ⁱ⁾.

Theoretically, the SAE-paper-cut element analysis model can fit any nonlinear model. In view of this advantage, the SAE-paper-cut element analysis model is used to fit the probability distribution between features and sample labels to realise feature identification and fault diagnosis. After obtaining the eigenvectors ${f^{(i)}}_{i = 1}^{K}$ of the training samples, combine the classification labels ${y^{(i)}}_{i = 1}^{K}$ to train the GMM model. For the training samples, fit the following SAE-paper-cut elemental anatomy model: 20 $p (x) = \sum_{i = 1}^{N C} p_{i} (x) = \sum_{i = 1}^{N C} π_{i} N (x ∣ μ_{i}, Σ_{i})$ 21 $N (x ∣ μ_{i}, Σ_{i}) = \frac{1}{\sqrt{2 π} {| Σ |}^{1 / 2}} e^{- \frac{{(x - μ_{i})}^{T} {(Σ)}^{- 1} (x - μ_{i})}{2}}$ 22 $\sum_{i = 1}^{N C} π_{i} = 1, 0 \leq π_{i} \leq 1$

In Eqs (20)–(22), π_i denotes the coefficient of each Gaussian component, $N (x | μ_{i}, Σ_{i})$ denotes the Gaussian component, μ_i denotes the mean of the i-th Gaussian component, Σ_i denotes the covariance of the i-th Gaussian component, NC denotes the number of Gaussian components and p(x) denotes the probability value corresponding to the sample x.

For each type of sample, a SAE-paper-cut element analysis model is fitted, and C SAE-paper-cut element analysis models is obtained. For each new sample, calculate the probability value ${p_{1} (x), p_{2} (x), \dots, p_{C} (x)}$ for each SAE-paper-cut anatomy model. According to the maximum probability value, the class of the new sample can be determined, that is, the failure mode is diagnosed: 23 $P r e d_a b e l (x) = \arg max (\frac{1}{\sum_{i = 1}^{C} p_{i} (x)} p_{i} (x)), i = 1, 2, \dots, C$

Since the parameter setting has a great influence on the performance of the SAE-paper-cut element analysis model, in order to obtain a reasonable parameter configuration, the particle swarm optimisation (PSO) algorithm is used to optimise the key parameters. The reasons for choosing PSO are as follows: the PSO algorithm has few preset parameters, the algorithm is simple and effective, can quickly converge to the optimal or local optimal solution and has a solid foundation in the research of the PSO algorithm. The following key parameters are selected for optimization: weight coefficient λ, sparse penalty term coefficient β, sparse parameter ρ, dropout probability value p and the number of neurons in each hidden layer. The first four parameters are real numbers, and the last parameter is an integer; so, this parameter optimisation problem is a mixed real number-integer optimisation problem. The first four parameters are optimised by the maximum pooling method, and the specific iterative equations are as follows: 24 $P_{i}^{g + 1} = P_{i}^{g} + V_{i}^{g + 1}$ 25 $V_{i}^{g + 1} = ω V_{i}^{g} + c_{1} r_{1} (P_{i, p b e s t}^{g} - P_{i}^{g}) + c_{2} r_{2} (P_{g b e s t}^{g} - P_{i}^{g})$

In Eqs (24) and (25), $P_{i}^{g}$ represents the position of the particle i in the g-th iteration, $V_{i}^{g}$ represents the velocity of the particle i in the g-th iteration, represents the optimal position found by the particle i in the g-th iteration and $P_{i, p b e s t}^{g}$ represents the optimal position found by the population in the g-th iteration. For the last parameter, the improved PSO algorithm is used to optimise, and the specific iterative equation is as follows: 26 $V_{i}^{g + 1} = ω V_{i}^{g} + u p (c_{1} r_{1} (P_{i, p b e s t}^{g} - P_{i}^{g})) + up (c_{2} r_{2} (P_{g b e s t}^{g} - P_{i}^{g}))$ ω represents the inertia coefficient, which is taken as 1 in this paper; c₁, c₂ represents the acceleration factor, which is taken as 0.5 in this paper; r₁, r₂ represents the random quantity subject to the uniform distribution of [0, 1]; up(·) represents the rounding up.

The expression of paper-cut elements in the design of boat space

In the face of the current development status of China’s boating industry, the folk theme of folk paper-cut art is also unsatisfactory in the design of boat space. Folk paper cutting, as a folk art culture of thousands of years in China, has been used for reference and application, but it is not always seen. As a result, it is still more difficult to make Chinese boats with paper-cut elements as the theme go to the world, to classics, and out of taste. This requires designers to find some design principles, design methods and expressions in future design works to adapt to the market structure and marketing mode of the hotel industry. Therefore, on the basis of summarising the previous research, this paper uses the SAE algorithm model to deeply analyse the artistic expression of paper-cut elements in the design of boat space.

3.1

The expression of paper-cut elements in the decorative design of boats

Paper-cut elements have the characteristics of innocence, simplicity and folklore. It has unique decorative properties in the decorative design of boats. The pattern elements are extracted from the papercut and applied to the boat decoration. At the same time, these elements are combined in a modern way so that the traditional paper-cut art and modular space can be better integrated. This paper takes curtains, tablecloths, wallpapers and lighting as comparative parameters and brings them into the SAE-paper-cut element model for comparative analysis. The analysis results are shown in Figure 1.

Comparative analysis of the fusion of paper-cut elements and traditional materials in boat decoration

The comparative analysis results show that the decorative integration of paper-cut elements in wallpaper is 82%, which is higher than that of traditional materials (24%). The reason for this result is that the formal sense of the paper-cut element can form a virtual and solid effect when it is used in the boat wallpaper. The hollow part is virtual, the reserved part is solid and the combination of virtual and solid forms a certain sense of rhythm. As a dense form, the hollowing out will form a contrast with the surrounding clean surface environment. In terms of the appearance of decorative materials, the pure white periphery and the hollowed-out line decoration form a contrast between the virtual and the solid. The wallpaper at the entrance is used as a decorative material for the boat space. The dense part and the surrounding blank walls combine virtual and solid to highlight the characteristics of paper-cut elements. And the decorative fusion of paper-cut elements in lighting is far superior to that of traditional materials. The main reason is that with the improvement of people’s aesthetics, lamps are no longer just lighting appliances but also an indispensable decoration in modern home decoration. The elements to be considered in lighting design are more diversified, not only from safety but also from material, type, style, taste and energy saving. Designers began to look for innovative points from different arts, and paper-cut elements became the source of this innovation. The diversification of lighting materials provides strong material support for the application of paper-cut elements in lighting design. At the same time, more and more attention is paid to contemporary national culture. Through the decorative language of paper-cut elements, it can not only increase the aesthetics of lighting but also explore new ways of lighting design, which is conducive to the inheritance and development of paper-cut art. Therefore, the inheritance and development of national culture provides an opportunity for the application of paper-cut elements in lighting design.

3.2

The expression of paper-cut elements in the practical design of boats

Through the theoretical analysis and practical investigation of the folk papercut and the practical space of boats in the early stage, the inheritance, nationality and cultural value of paper-cut elements, as well as the development status of the boat space design industry, are combined with theory and practice, and paper-cut elements are applied to practice. The practical design of the boat mainly includes decks, cabins, consoles and guest rooms. The above design parameters are brought into the SAE-paper-cut element model for comparative analysis, and the analysis results are shown in Figure 2.

Comparative analysis of paper-cut elements and traditional materials in the practical design of boats

It can be seen from Figure 2 that the integration of paper-cut elements in the space design of cabins and guest rooms is as high as 97% and 94%, respectively, which is far better than the integration of traditional materials in the space design of cabins and guest rooms. This shows that the application of folk paper-cut elements to the space design of boats not only highlights the theme of boats but also enhances the cultural value of boats. In a novel way of expression, folk paper-cut art and boat space design are combined. The combined design improves the public’s cognitive ability to folk culture, determines the development direction of boat space design and enriches the language symbols of contemporary boat space design. Selecting traditional paper-cut themes and composition forms, extracting and summarising traditional paper-cut design elements and making them perfectly integrated with modern design, not only using paper-cut art in space composition, but also in other detail designs. It can truly inherit the tradition and accommodate all rivers, providing reference for the space design of the same type of boats.

3.3

Research on the application of paper-cut elements in the space design of boats

According to the above analysis results and case studies, it can be seen that the integration of paper-cut elements in the space design of cabins and guest rooms is much better than that of traditional materials in the space design of cabins and guest rooms. This shows that the application of folk paper-cut elements to the space design of boats not only highlights the theme of boats but also enhances the cultural value of boats. Folk paper-cut art has been passed down in China for thousands of years, and the generation and development of boat space design has a long history. With the improvement and development of living standards, people have higher and higher requirements for the space environment of boats. The cultural heritage of thematic design is becoming more and more significant. The significance of in-depth research on the expression of paper-cut elements in the design of boat space mainly includes the following three points:

The boat space design based on paper-cut elements can make better use of the sea space and enhance the industrial added value of Chinese boats. To build a well-configured boat space and improve the versatility of the maritime space, the paper-cut element symbols can be used as much as possible to reflect the diversity of the paper-cut element space. At the same time, the development of boats based on paper-cut elements is conducive to increasing the value-added space of boats and the exploration of China’s shipbuilding industry. In the long run, it will bring more economic benefits to China and more employment opportunities for the local area.

The boat space design based on paper-cut elements breaks through the limitations of low utilisation and low adaptability of traditional boat space design. Combined with movable paper-cut element technology and space construction technology, the boat space can realise flexible movement and high adaptability to the environment, effectively expand the space for human activities and provide reference for the future development of boat space resources.

There are three forms of application of the air-through feature of paper-cut art in space. One is for space division, such as curtains, etc. In the living space and office space, curtains are used to divide the area, which divides the space; second, it is used for decoration, mainly reflected in wallpapers and tablecloths; third, starting from the characteristics of permeation, the combination of hollow and lighting produces a unique visual beauty, forming light and shadow effects in the space, creating a virtual space. In the space design, the papercut is presented in three dimensions. The air-permeable partition can not only divide the space but also play the effect of ‘separation without blocking’. At the same time, the light and shadow effect generated in the interior under the action of light enriches the space environment and makes the boat decoration innovative and sublimated.

Conclusion

Incorporating paper-cut elements into the design of boat space is a new form of paper-cut application and an innovation to the space design of boat space. In the use of paper-cut elements and features, the combination of element symbols and space is carried out according to the modular characteristics of the boat space. This modular design provides a reference paradigm for the general public. This boat space design is an optimisation of the boat space form, which is conducive to improving the quality of life of the occupants; the boat space design serves people and undertakes the mission of promoting and developing Chinese national culture; at the same time, the combination of the traditional folk paper-cut elements and modern boat space is the collision of tradition and modernity, pioneering and innovating on the basis of not forgetting the Chinese tradition. In response to this social hotspot, this paper deeply analyses the artistic expression of paper-cut elements in the design of boat space. The specific conclusions are as follows:

In order to meet people’s pursuit of traditional Chinese culture, it is of advanced reference significance and value to design a boat space with traditional Chinese culture. Incorporating the elements of paper-cut art into the interior space design of boats can meet people’s needs for modern mass production and meet people’s personalised pursuit of space. Creating this type of cultural space can promote the use of paper-cut elements in boat space design.

The decorative integration of paper-cut elements in wallpaper is 82%, which is higher than that of traditional materials (24%). The reason for this result is that the formal sense of the paper-cut element can form a virtual and solid effect when it is used in the boat wallpaper. The hollow part is virtual, the reserved part is solid and the combination of virtual and solid forms a certain sense of rhythm. And the decorative fusion of paper-cut elements in lighting is far superior to that of traditional materials. The main reason is that with the improvement of people’s aesthetics, the elements to be considered in lighting design are more diversified, not only from safety but also from material, type, style, taste and energy saving. The diversification of lighting materials provides strong material support for the application of paper-cut elements in lighting design.

The integration of paper-cut elements in the space design of cabins and guest rooms is as high as 97% and 94%, respectively, which is far better than the integration of traditional materials in the space design of cabins and guest rooms. This shows that the application of folk paper-cut elements to the space design of boats not only highlights the theme of boats but also enhances the cultural value of boats. In a novel way of expression, folk paper-cut art and boat space design are combined, improving the public’s cognitive ability to folk culture, determining the development direction of boat space design and enriching the language symbols of contemporary boat space design. Not only the paper-cut art is used in the space composition but also in other details design; the symbols of the paper-cut art can be used to provide reference for the same type of boat space design.

Figure e tabelle

The proportion of space design cost in China’s shipbuilding cost

Boat type	The proportion of space design cost (%)
Yacht	13
Passenger ship	34
Engineering ship	31
Fishing boat	28

Riferimenti

[1] Li, Xingping. “Visualization Display System of Gannan Hakka Paper-Cut Works Based on Computer Graphics Algorithm.” Computational Intelligence and Neuroscience 2022 (2022). Li, Xingping. “Visualization Display System of Gannan Hakka Paper-Cut Works Based on Computer Graphics Algorithm.” Computational Intelligence and Neuroscience 2022 (2022).10.1155/2022/2419689897090435371254 Search in Google Scholar

[2] Wenshan, Y. U., C. H. E. N. G. Xinghong, and P. A. N. Jie. “Inheritance and Development of Fuyang Folk Paper-cut Art: A Case Study of” Cheng’s Paper-cut” Art.” Journal of Landscape Research 11.6 (2019). Wenshan, Y. U., Xinghong C. H. E. N. G., and Jie P. A. N. “Inheritance and Development of Fuyang Folk Paper-cut Art: A Case Study of” Cheng’s Paper-cut” Art.” Journal of Landscape Research 11.6 (2019). Search in Google Scholar

[3] Yu, Wenshan, Xinghong Cheng, and Jie Pan. “Inheritance and Development of Fuyang Folk Paper-cut Art: A Case Study of” Cheng’s Paper-cut” Art.” Journal of Landscape Research 11.6 (2019): 91-96. Yu, Wenshan, Cheng Xinghong, and Pan Jie. “Inheritance and Development of Fuyang Folk Paper-cut Art: A Case Study of” Cheng’s Paper-cut” Art.” Journal of Landscape Research 11.6 (2019): 91-96. Search in Google Scholar

[4] Nolasco, Ana. “Crafting political gestures of locality: The transposition of artisanal traditions in the artwork of Catarina Branco.” Craft Research 13.1 (2022): 35-58. Nolasco, Ana. “Crafting political gestures of locality: The transposition of artisanal traditions in the artwork of Catarina Branco.” Craft Research 13.1 (2022): 35-58.10.1386/crre_00065_1 Search in Google Scholar

[5] Andrick, John M. ““Home Is The Theater Of Life”: Scenographic Poetics And American Living Room Ambience, 1900–1925.” Home Cultures 18.1 (2021): 1-24. Andrick, John M. ““Home Is The Theater Of Life”: Scenographic Poetics And American Living Room Ambience, 1900–1925.” Home Cultures 18.1 (2021): 1-24.10.1080/17406315.2021.1961414 Search in Google Scholar

[6] Yang, L. I. U. “The Application of Traditional Culture in Urban Public Landscapes.” Journal of Landscape Research 10.6 (2018). Yang, L. I. U. “The Application of Traditional Culture in Urban Public Landscapes.” Journal of Landscape Research 10.6 (2018). Search in Google Scholar

[7] Sarkar, Asmita. “Ecology of site-specific painting and drawing: Embodied and empathic mark-making in urban cites.” Visual Inquiry 10.1 (2021): 13-30. Sarkar, Asmita. “Ecology of site-specific painting and drawing: Embodied and empathic mark-making in urban cites.” Visual Inquiry 10.1 (2021): 13-30.10.1386/vi_00023_1 Search in Google Scholar

[8] Herzog, Jacques. Treacherous Transparencies: Thoughts and Observations Triggered by a Visit to Farnsworth House. Actar D, Inc., 2022. Herzog, Jacques. Treacherous Transparencies: Thoughts and Observations Triggered by a Visit to Farnsworth House. Actar D, Inc., 2022. Search in Google Scholar

[9] Chittenden, Tara. “Tilt Brush painting: Chronotopic adventures in a physical-virtual threshold.” Journal of contemporary painting 4.2 (2018): 381-403. Chittenden, Tara. “Tilt Brush painting: Chronotopic adventures in a physical-virtual threshold.” Journal of contemporary painting 4.2 (2018): 381-403.10.1386/jcp.4.2.381_1 Search in Google Scholar

[10] Stevens, Bethan. “A wordless memoir: The illustrator as archivist.” The wood engravers’ self-portrait. Manchester University Press, 2022. 21-60. Stevens, Bethan. “A wordless memoir: The illustrator as archivist.” The wood engravers’ self-portrait. Manchester University Press, 2022. 21-60.10.7765/9781526156679 Search in Google Scholar

[11] Knauer, Thomas. Why we quilt: Contemporary makers speak out about the power of art, activism, community, and creativity. Storey Publishing, 2019. Knauer, Thomas. Why we quilt: Contemporary makers speak out about the power of art, activism, community, and creativity. Storey Publishing, 2019. Search in Google Scholar

[12] Rau, Pei-Luen Patrick, ed. Cross-Cultural Design. Applications in Cultural Heritage, Tourism, Autonomous Vehicles, and Intelligent Agents: 13th International Conference, CCD 2021, Held as Part of the 23rd HCI International Conference, HCII 2021, Virtual Event, July 24–29, 2021, Proceedings, Part III. Vol. 12773. Springer Nature, 2021. Rau, Pei-Luen Patrick, ed. Cross-Cultural Design. Applications in Cultural Heritage, Tourism, Autonomous Vehicles, and Intelligent Agents: 13th International Conference, CCD 2021, Held as Part of the 23rd HCI International Conference, HCII 2021, Virtual Event, July 24–29, 2021, Proceedings, Part III. Vol. 12773. Springer Nature, 2021.10.1007/978-3-030-77080-8 Search in Google Scholar

[13] Schaefer, E. W., et al. “Sizing of hybrid energy storage through analysis of load profile characteristics: A household case study.” Journal of Energy Storage 52 (2022): 104768. Schaefer, E. W., “Sizing of hybrid energy storage through analysis of load profile characteristics: A household case study.” Journal of Energy Storage 52 (2022): 104768.10.1016/j.est.2022.104768 Search in Google Scholar

[14] Ye, Fan. “Application of Photoshop Graphics and Image Processing in the Field of Animation.” Journal of Sensors 2021 (2021). Ye, Fan. “Application of Photoshop Graphics and Image Processing in the Field of Animation.” Journal of Sensors 2021 (2021).10.1155/2021/8677479 Search in Google Scholar

[15] Stewart, Anne L., and Lennis G. Echterling. “Attachment-Based Play Techniques for Enhancing Growth in Supervision.” Techniques and Interventions for Play Therapy and Clinical Supervision. IGI Global, 2021. 56-68. Stewart, Anne L., and Echterling Lennis G. “Attachment-Based Play Techniques for Enhancing Growth in Supervision.” Techniques and Interventions for Play Therapy and Clinical Supervision. IGI Global, 2021. 56-68.10.4018/978-1-7998-4628-4.ch004 Search in Google Scholar

[16] Allen, Jan, et al. “An Image-Led Dialogue between Creative Arts Educators and Practitioners in Melbourne, Australia.” Art Therapy in Australia: Taking a Postcolonial, Aesthetic Turn (2019): 43. Allen, Jan, “An Image-Led Dialogue between Creative Arts Educators and Practitioners in Melbourne, Australia.” Art Therapy in Australia: Taking a Postcolonial, Aesthetic Turn (2019): 43.10.1163/9789004368262_001 Search in Google Scholar

[17] Dieter, Katie E. “Visualizing African diaspora dance through the African American Dance Company and visual art.” Fire Under My Feet. Routledge, 2021. 66-92. Dieter, Katie E. “Visualizing African diaspora dance through the African American Dance Company and visual art.” Fire Under My Feet. Routledge, 2021. 66-92.10.4324/9781003150343-3 Search in Google Scholar

[18] Lai, Linda Chiu-han. “Contemporary “Women’s Art in Hong Kong” Reframed: Performative Research on the Potentialities of Women Art Makers.” positions asia critique 28.1 (2020): 237-274. Lai, Linda Chiu-han. “Contemporary “Women’s Art in Hong Kong” Reframed: Performative Research on the Potentialities of Women Art Makers.” positions asia critique 28.1 (2020): 237-274.10.1215/10679847-7913132 Search in Google Scholar

[19] Wang, Ming-Feng. Cultural realism and virtualism design model. Springer Singapore, 2020. Wang, Ming-Feng. Cultural realism and virtualism design model. Springer Singapore, 2020.10.1007/978-981-15-2271-0 Search in Google Scholar

[20] Kang, Qiaochu. Exploring Digital Comic Adaptation of a Chinese Folktale. Diss. New York University Tandon School of Engineering, 2022. Kang, Qiaochu. Exploring Digital Comic Adaptation of a Chinese Folktale. Diss. New York University Tandon School of Engineering, 2022. Search in Google Scholar

[21] Bell, David, et al. “Young children’s experiences with contemporary art.” International Journal of Education Through Art 14.2 (2018): 145-159. Bell, David, “Young children’s experiences with contemporary art.” International Journal of Education Through Art 14.2 (2018): 145-159.10.1386/eta.14.2.145_1 Search in Google Scholar

[22] Gross, Rachel S. “The gender politics of do-it-yourself: Frostline kits and the American outdoor equipment boom of the 1970s.” Entreprises et histoire 106.1 (2022): 76-91. Gross, Rachel S. “The gender politics of do-it-yourself: Frostline kits and the American outdoor equipment boom of the 1970s.” Entreprises et histoire 106.1 (2022): 76-91.10.3917/eh.106.0076 Search in Google Scholar

[23] Cowen, Eleanor. Animation Behind the Iron Curtain. Indiana University Press, 2020. Cowen, Eleanor. Animation Behind the Iron Curtain. Indiana University Press, 2020.10.2307/j.ctv2crj2v8 Search in Google Scholar

[24] Steed, Josephine, and Frances Stevenson. Sourcing Ideas for Textile Design: Researching Colour, Surface, Structure, Texture and Pattern. Bloomsbury Publishing, 2020. Steed, Josephine, and Stevenson Frances. Sourcing Ideas for Textile Design: Researching Colour, Surface, Structure, Texture and Pattern. Bloomsbury Publishing, 2020.10.5040/9781350077652 Search in Google Scholar

[25] Fowkes, Maja, and Reuben Fowkes. Central and Eastern European Art Since 1950 (World of Art). Thames & Hudson, 2020. Fowkes, Maja, and Fowkes Reuben. Central and Eastern European Art Since 1950 (World of Art). Thames & Hudson, 2020. Search in Google Scholar

[26] Partridge, Erin. Art therapy with older adults: Connected and empowered. Jessica Kingsley Publishers, 2019. Partridge, Erin. Art therapy with older adults: Connected and empowered. Jessica Kingsley Publishers, 2019. Search in Google Scholar

[27] Stevens, Bethan. The wood engravers’ self portrait: The Dalziel Archive and Victorian illustration. MANCHESTER University Press, 2022. Stevens, Bethan. The wood engravers’ self portrait: The Dalziel Archive and Victorian illustration. MANCHESTER University Press, 2022.10.7765/9781526156679 Search in Google Scholar

[28] Zhang, GuoLong. “Research on the application of 3D reconstruction technology in traditional handicraft design.” The International Journal of Electrical Engineering & Education (2021): 00207209211005274. Zhang, GuoLong. “Research on the application of 3D reconstruction technology in traditional handicraft design.” The International Journal of Electrical Engineering & Education (2021): 00207209211005274.10.1177/00207209211005274 Search in Google Scholar

[29] Jozwiak, Jörg. “Miniature appreciation–what’s so great about little models?.” World Art 11.2 (2021): 149-175. Jozwiak, Jörg. “Miniature appreciation–what’s so great about little models?.” World Art 11.2 (2021): 149-175.10.1080/21500894.2020.1797865 Search in Google Scholar

[30] Birnbaum, Paula J. “Swoon’s Medea (2017) as a Feminist Intervention: Re-producing the Maternal.” Iconic Works of Art by Feminists and Gender Activists. Routledge, 2021. 130-144. Birnbaum, Paula J. “Swoon’s Medea (2017) as a Feminist Intervention: Re-producing the Maternal.” Iconic Works of Art by Feminists and Gender Activists. Routledge, 2021. 130-144.10.4324/9781003147770-8 Search in Google Scholar

[31] Zhang Y, Qian T, Tang W. Buildings-to-distribution-network integration considering power transformer loading capability and distribution network reconfiguration. Energy, (2022), 244. Zhang Y, Qian T, Tang W. Buildings-to-distribution-network integration considering power transformer loading capability and distribution network reconfiguration. Energy, (2022), 244.10.1016/j.energy.2022.123104 Search in Google Scholar

[32] T. Qian, Xingyu Chen, Yanli Xin, W. H. Tang, Lixiao Wang. Resilient Decentralized Optimization of Chance Constrained Electricity-gas Systems over Lossy Communication Networks. Energy, (2022), 239,122158. Qian T., Chen Xingyu, Xin Yanli, Tang W. H., Wang Lixiao. Resilient Decentralized Optimization of Chance Constrained Electricity-gas Systems over Lossy Communication Networks. Energy, (2022), 239, 122158.10.1016/j.energy.2021.122158 Search in Google Scholar

[33] T. Qian, Y. Liu, W. H Zhang, W. H. Tang, M. Shahidehpour. Event-Triggered Updating Method in Centralized and Distributed Secondary Controls for Islanded Microgrid Restoration. IEEE Transactions on Smart Gird, (2020), 11(2): 1387-1395. Qian T., Liu Y., Zhang W. H, Tang W. H., Shahidehpour M. Event-Triggered Updating Method in Centralized and Distributed Secondary Controls for Islanded Microgrid Restoration. IEEE Transactions on Smart Gird, (2020), 11(2): 1387-1395.10.1109/TSG.2019.2937366 Search in Google Scholar

[34] CH Fang, YN Tao, JG Eang, et al. Mapping Relation of Leakage Currents of Polluted Insulators and Discharge Arc Area. Frontiers in Energy Research (2021). Lovatt, Anna. “Radical Antinomies: Drawing and Conceptual Art.” A Companion to Contemporary Drawing (2020): 309-324. Fang CH, Tao YN, Eang JG, Mapping Relation of Leakage Currents of Polluted Insulators and Discharge Arc Area. Frontiers in Energy Research (2021). Lovatt, Anna. “Radical Antinomies: Drawing and Conceptual Art.” A Companion to Contemporary Drawing (2020):dd 309-324.10.3389/fenrg.2021.777230 Search in Google Scholar

[35] Zhou, Wenhai. Chinese Independent Animation: Renegotiating Identity in Modern China. Springer Nature, (2020). Zhou, Wenhai. Chinese Independent Animation: Renegotiating Identity in Modern China. Springer Nature, (2020).10.1007/978-3-030-40697-4 Search in Google Scholar

Applied Mathematics and Nonlinear Sciences

In-depth analysis of the artistic expression of paper-cut elements in the design of boat space

Xiaoli Liu,
Xiaoli Liu,
Kailin Shi e
Kailin Shi e
Wenjie Deng
Wenjie Deng

Pubblicato online: 23 Dec 2022

Volume & Edizione: AHEAD OF PRINT

Pagine: -

Ricevuto: 19 Jul 2022

Accettato: 16 Sep 2022

Dettagli rivista e numero

Applied Mathematics and Nonlinear Sciences

Anteprima PDF

Articolo

Fig. 1

Fig. 2

Figure e tabelle

Fig. 1

Fig. 2

The proportion of space design cost in China’s shipbuilding cost

Riferimenti

Articoli recenti

Pianifica la tua conferenza remota con Sciendo

Applied Mathematics and Nonlinear Sciences

In-depth analysis of the artistic expression of paper-cut elements in the design of boat space

Xiaoli Liu,Xiaoli Liu,Kailin Shi eKailin Shi eWenjie DengWenjie Deng

Pubblicato online: 23 Dec 2022

Volume & Edizione: AHEAD OF PRINT

Pagine: -

Ricevuto: 19 Jul 2022

Accettato: 16 Sep 2022

Dettagli rivista e numero

Applied Mathematics and Nonlinear Sciences

Anteprima PDF

Articolo

Fig. 1

Fig. 2

Figure e tabelle

Fig. 1

Fig. 2

The proportion of space design cost in China’s shipbuilding cost

Riferimenti

Articoli recenti

Pianifica la tua conferenza remota con Sciendo

Xiaoli Liu,
Xiaoli Liu,
Kailin Shi e
Kailin Shi e
Wenjie Deng
Wenjie Deng