設計哲學中有關性別意識的影響思考

A Discussion on the Influences of Gender Awareness in the Design Philosophy

陳麗芳(Li-Fang Chen)

指導教授 ： 諸葛正

朝陽科技大學/設計學院/設計研究所/碩士(2010年)

摘要

摘 要
人類社會在歷經西方的女性主義運動之後，對於兩性平等的訴求也隨之而生，而從教育部的網站中，也可看到有關性別平等觀念的教化，以及利用兩性平等海報比賽方式，促進學生對性別認知的認識，可以瞭解社會對性別意識的關注程度。

雖說社會如此倡導兩性平等觀念，但從設計上解讀設計師的各種設計思維卻殘存著對兩性差異的刻版印象設計概念。所以性別意識差異的思維即顯現出設計者對兩性思想的基本價值觀。許多設計者在操作設計思維，製作設計物時，經常會視而不見，或是被既有刻版印象所教化，而忽略性別意識觀念上的差異所帶來強大影響能力，探究這類影響力的影響範圍與程度，以及反思這些影響對設計教育的回饋，是本研究的主要重點所在。

本研究期望透過各類文獻分析，重新審視設計者所設計出人工物中的各種性別差異認知思維，藉此解讀設計者對於兩性使用物的基本價值觀，從人所處的空間、所使用的設計人工物，以及平日隨處可見的視覺媒介宣傳設計手法等研究對象載體，作為本研究解析的主要脈絡。以探討設計中性別差異的設計呈現手法，來進一步反思性別差異的設計產出對於人類社會影響深度。主要研究目的則有下列三項：

1.整理與檢討性別意識思想的發展史與重要意涵。
2.分項檢討性別差異運用於各設計人工物（空間文化、器物造形與功能、視覺觀感思想）的發展歷程與其正負面向的各種意義。
3.抽出歸納性別意識差異之下所能夠對設計行為展開上的各項重要影響特徵與意義解讀。
4.嘗試將上述發現結論運用於作品的發展思考中，並藉此導出實驗性設計的過程與結果。

至於本研究的主要成果則為：
1.所有的設計人工物只要有分別就容易有上下、主副之分出現，性別意識與相關衍生器物中都經常蘊含有這些思維。性別的主從差異也經常會在設計行為中以另一種方式表現出來，這種以偏概全的現象，女性仍舊淪為第二性，是跟隨男性的附屬角色。而這些成就男性為第一性、女性為第二性的即是造物的設計者。
2.設計其使用相對應的空間、物，與視覺宣傳品，其運用男女專屬的名義進行口號式的操作，其結果常常是形式上好像有專屬設計的意義，但實質上卻未必有如此的結果。而尊重性別差異出發所產生的設計物，其實最後似乎仍是變成再次束縛女性的一種設計思維展現，或者換說成既有習俗、既有刻板印象等的設計「推手」。
3.設計中各種形塑性別意識形態差異的設計手法有限制女性的意識形態設計、束縛女性的意識形態設計、灌輸複製女性應該要在家中相夫教子的觀念導向式設計、穩固男性身份地位的意識形態、塑造男性英雄或專業形象的意識形態設計，無論設計者是有意或無意地去造成性別差異設計的產出，這些刻版印象必然會無時無刻地去影響設計者的設計行為。
4.設計洪流多半是以男性為中心的設計思維展開，且無論是在共用設計物亦或是專屬設計物上皆可見其身影，因而也造就出設計物多偏向男性思維發展的必然結果。但現在甚至有女性設計師比例略高於男性的趨勢，但是存著以男性主導為中心思維的設計物還是層出不窮，並未有明顯改變之處。所以，女性的從事者人數就算變多，也不見得馬上就能平反過往已營造形成的價值觀，然後仍是只能繼續地複製男尊女卑的思維。
5.性別差異設計思維的未來，要破除社會上以男性為主的氛圍，或許得要全面性地推動以女性為中心來思考設計行為與產物的基本思維，社會上的一昧偏向男性如同造成一黨獨大局面，女性永遠都是處於弱勢，且似乎也無法改變從男性社會中去掌握主導權，只有先強調實行「女性中心」，才可能拉回天秤成為「男女平等」。
6.從論文中反思設計教育的課程創作，重新思考這類意識形態灌輸的最好方法，就是鼓勵讓學生多認真去思索這類概念學習的課程要大幅度增加，不然就是要在某些作業施行的環節中，強烈要求學生去思索這類問題。以課程而論，原本既有的必修設計史課程其實是個好標的課程，增加性別意識設計哲理類型的課程，以引發學生自省，可能也是個好方法。

關鍵字

性別差異 ； 設計哲學 ； 性別歧視 ； 兩性平等

並列摘要

Abstract

After the Western feminist movement, gender equity has become prominent in the human society; education and poster-making competitions regarding this concept shown on the website of the Ministry of Education (MOE) that help students learn more about the gender cognition indicate how much attention our society pays to the gender awareness.

Despite the promotion of gender equity, many designers’ philosophies still imply the traditional gender stereotype. The philosophy of gender differences, therefore, reflects a designer’s fundamental values towards the two genders. When manipulating design concepts or objects, many designer often ignore the strong influences brought on by differences in gender awareness -- perhaps conditioned by the stereotype. The focus of this study, therefore, is to explore the scope and degree of such influences and determine their feedbacks on the education of design.

It is wished that through literature review, differences in gender awareness behind artificial objects designed by their designers can be re-examined, and the designers’ fundamental values towards the objects used by both genders can be analyzed through the space they live in, the designed, artificial objects they use, and the promoted, designed techniques of visual media that is seen all around us on a daily basis. These efforts help us discuss how design techniques differ due to gender differences and in turn realize how the human society has been influenced by the design based on gender differences. The three primary research objectives are as follows:

1.Organize and examine the history and major implications of gender awareness.
2.Individually examine the history of gender differences being applied on the design of artificial objects (spatial culture, shapes and functions of containers, and visual philosophy) and their positive and negative implications.
3.Identify and analyze the major influences and their implications of gender differences on the behavior of design.
4.Attempt to apply the above findings to production and determine the procedures and results of an experimental design.

The significant findings of this study are:
1.Almost all designed, artificial objects have the host-guest relationship, which is often seen in gender awareness and derived objects. The hierarchy of gender is also often reflected in a certain way during design, which still depicts females as the secondary gender controlled by males. What makes males the primary gender the females the secondary is the designer that created an object.
2.The result of designing a space, object, or visual campaign material under the slogan of “dedicated to males or females” is often a false sense of gender-specific design that is actually non-existent. Objects designed out of the respect for gender differences often end up being another way of thinking that restricts females or a “promoter” of past traditions and stereotypes.
3.In this kind of design technique that depicts gender-difference, common approaches include designs that restrict females’ awareness, duplicate the idea that women should only be homemakers who support males, or the image of males being heroes or professionals. Whether a designer did so intentionally or unintentionally, this kind of stereotypical images would surely and constantly influence his or her design behaviors.
4.The mainstream of design is also based on the male-centric thinking which is reflected by objects design for both genders or for males only, resulting in the inevitable result of most objects being male-centric. Despite the rising status of females, objects with male-centric designs are still pervasive and showing no significant changes. Therefore, regardless the increasing number of female workers, it is hard to reverse the past values, and the gender-hierarchy that places males above females continues to be duplicated.
5.In order to break free from the male-centric atmosphere, future gender-specific design just might have to come up with female-centric designs and objects. In the society that still places males above females, it seems the latter is always the minority group that cannot take the leading role in the male-dominant society, and gender equity can only be possible by promoting female-centrism.
6.The best way to re-think the design curriculum and gender awareness is to encourage students to undergo this kind of learning or to contemplate on these issues through certain projects. In terms of the curriculum, the mandatory course of “History of Design” just might be a great way for students to re-think these issues by incorporating gender-awareness related designs course.

Key words:gender difference, gender equity, sexual discrimination, design philosophy.

並列關鍵字

words:gender difference ； sexual discrimination ； gender equity ； design philosophy

參考文獻

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