現代人在工作或學業上的壓力曲線有逐年增高的趨勢,常需藉由外在力量使壓力或情緒來獲得紓解,而從種種社會現象與熱門商品類型中我們可以發現,造型上感性因素的考量在物質豐裕的現今因心理需求上的滿足,而受到消費者所重視。也因此設計師對感性層的敏銳度與廣度的能力比重就會增加。 在整體的研究架構中利用文獻探討歸納出感性之方向,最後透過實驗蒐集之「刺激源」包含目前市場具感性意象之產品與心情看板的圖像化資料,應用這些具有感性意象資料創造出產品意象空間。過程中依據Desmet (2002)理論配合感性工學之論點作為本研究理論基礎;過程中尋求適當的方法作後續的研究,運用一連串的階段性實驗結果,最後再加上設計工作營的實際運作,作為本研究所需探討與分析之依據。 本研究主要探討經蒐集作為「刺激源」的感性資料,對於輔助設計師在概念的發展階段上,(一)、發散水平思考上聯想的廣度;(二)、改變設計時程上的配置藉以延長概念思考階段;(三)、感性意含轉化於其他商品類的成效。
Pressure from jobs and studies increases yearly in modern society, therefore, people often need to relax with external strength. From the faces of society and some hot-sale product we can learn that sensational out-looking design will satisfy the psychological needs and be impressive to consumers in such a prosperous society. That is the reason why designers improve their ability on sensational deepness and wideness when producing a new product. In the structure of reach, the author integrates the directions of sensation with documentary analysis and creates product-imaged space with data collected by experimented stimulation factors which contains sensational imagining product and illustrated Mood Board data. The basis of this research follows Desmet Theory accompanied with Kansei Engineering. In the process the author was looking for a suitable way to do the extending research. Also, a series of sectional experimented results and practical operation of design workshop are used to be the foundation of discussion and analysis on this research. The research mainly discuss collected data as stimulation factors. For assisting designers on concept development:(1.)to spread the wideness of related thinking (2.)to change the allocation of designing schedule to extend concept-thinking section (3.)to see the effect that sensational intention switching to other products.