台灣文化符碼轉譯之傢具設計研究與創作

台灣擁有數百年累積的深厚文化基礎與自由開放的創作環境，透過擷取與再設計這些文化的特殊符碼，將象徵的意涵融入在台灣也佔有一席之地的傢具產業，以現代的設計模式重新詮釋傳統的文化表現。本研究採用文獻資料分析法以及個案研究法進行分析與探討現有文化產品之設計流程，探討文化與產品之間造型與文化符碼的連結度，並建立適用於傢具設計之符碼詮釋方法和文化的轉譯模式。本研究旨在探討台灣文化符碼應用於傢具設計之研究與創作。無形的知識與文化層面的資產成為產業競爭力、改變社會結構和創造經濟繁榮的關鍵因素。由於市場逐漸轉型，一項文化產品的美感與功能只是基本，更重要的是必須具有內涵。而傢具是台灣重要的傳統產業之一，在傳統產業普遍沒落的情況下，透過將文化重新詮釋能賦予產業新的附加價值。本研究創作選定台灣文化中廟宇文化、元宵文化以及辦桌文化做為載體，而以沙發組、邊桌組及燈具組作為創作項目。將文獻與案例分析建構的設計流程，作為尋找文化特徵的方法，且轉化為傢具中所含的台灣文化符號，依照文化三層次分類，設計出三系列的傢具。最後並整合文獻探討、案例分析以及設計創作之結論，提出符碼轉譯應用於文化產品設計的設計模式，作為後續相關研究或創作的參考依據。本研究主要結論有：（1）台灣文化：台灣因歷史背景成為眾多族群融合的區域，單一文化並無法完全代表台灣，正因如此造就了台灣文化的高包容性與可塑性，最重要的是如何詮釋對這片土地的認同。（2）文化產品設計：文化三層次當中，最常被運用的是形而下的器物與外型符號，但一項文化產品設計必須兼顧不同層次的文化符碼才能夠完整表達文化的意涵，否則容易過度聚焦於外型層次而忽略了文化的行為與精神層次。（3）文創產業的發展：台灣的文化創意產業的發展已經持續十數年，卻仍然存在不少以商業化為主要目的而執行的案例。這一類的產品設計多半都著墨在單純的造型和色彩，並未真正探究文化更深層的意涵。常年來教育皆輕忽了本土文化的重要性，使多半民眾對自己生存的土地的歷史文化感到陌生，因此如何喚醒民眾對於家鄉的認同與連結感，亦是文化創意產業在發展時所必須重視與補足的重點。

關鍵字

台灣文化；符碼；轉譯；傢具設計

並列摘要

Taiwan has a rich cultural foundation and a free and open creative environment accumulated over hundreds of years. By capturing and redesigning the special codes of these cultures, the symbolic meaning is integrated into the furniture industry where Taiwan also has a place, with a modern design pattern. Reinterpreting traditional cultural expressions. This study uses literature analysis and case study methods to analyze and discuss the design process of existing cultural products, as well as to explore the connection between culture and product modeling and cultural codes, and to establish a code interpretation method suitable for furniture design. Cultural translation mode. This study aims to explore the application of Taiwanese cultural codes to the research and creation of furniture design. As the market gradually transforms, the beauty and function of a cultural product are only basic, and more importantly, it must have connotation. Furniture is Taiwan's important traditional industries. In this study, the temple culture, the lantern culture and the table culture are selected as the carriers in the Taiwan culture. The sofa group, the side table group and the lighting group are taken as the creative projects, and the design process of the literature and case analysis is constructed to find similar cultural characteristics. As a symbol of Taiwanese culture contained in furniture, and in accordance with the three levels of culture, three series of furniture were designed. Finally, it integrates literature discussion, case analysis and design creation conclusions. The main conclusions of this study are as follows: (1) Taiwan has become a region where many ethnic groups are integrated because of its historical background. A single culture cannot fully represent Taiwan. This is why it has created the high inclusiveness and plasticity of Taiwanese culture. The most important thing is how to interpret this. The identification of the land. (2) Among the three levels of culture, the most commonly used is the metaphysical artifacts and external symbols, but a cultural product design must take into account different levels of cultural codes to fully express the meaning of culture, otherwise it is easy to over-focus The level of appearance ignores the behavioral and spiritual levels of culture. (3) The development of Taiwan's cultural and creative industries has been going on for more than a decade, but there are still many cases of commercialization as the main purpose. Most of the product designs in this category are simple shapes and colors, and they do not really explore the meaning of deeper layers of behavior or thought in culture. Therefore, how to arouse the people's sense of identity and connection to the land they live in is also cultural creativity.