摘要
Roland Barthes曾說：「一部作品之不朽，並不是因為它把一種意義強加給不同的人，而是因為它向每一個人暗示了不同的意義。」，設計師創作時固然有其應用的靈感來源，但解讀作品傳達出的訊息還是需要靠大眾加以識別判斷。 從Tversky與Ortony認為隱喻與特徵之間的關係有其不平衡的現象組合，再到1980年代Larkoff將隱喻拓展成為認知與非文學範疇，隱喻是產品設計常使用的手法，本研究採用問卷的方式，以Ortony的特徵顯著不平衡理論與Winner的項內項外距離理論來探討數個產品在外觀、動作特徵以及意像的隱喻設計。 研究發現：(1)受測者主要從外觀而非動作來指認產品隱喻的相似性。(2) Ortony與Winner的理論模式，在相當程度上可描述與權勢產品的隱喻性和創新性。(3)本研究最後提出「隱喻立方體」分類架構，以外觀造型、動作行為與象徵意義為三個座標軸，可將產品區分為七種層次的隱喻。
並列摘要
This study applies Andrew Ortany’s salience imbalance theory and Ellen Winner’s within and between-domain distance theory to the metaphor design in the area of industrial design.16 participants are asked to identify the source of given products, determine the visual-level and action-level features of the target and source in priority order, respectively, as well as the similarity between the features. Results include (1) participants prefer to identify the source of given product at form level rather than function level, (2) Neither salience imbalance theory or within and between-domain distance theory is applicable to metaphor design in the field of industrial design, (3) this research proposed that “the Metaphor Cube”, with the aim of enhancing the product metaphor design classification complete.