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  • 學位論文

運用聽覺與視覺共感覺於產品造形設計之研究

The Study of Applying Audio and Visual Synaesthesia to Product Form Design

指導教授 : 葉雯玓
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摘要


一邊聽音樂,一邊做設計,是否能激發設計師的造形設計靈感? 研究者以「共感覺(synaesthesia)」的概念切入此議題:意即在音樂(刺激物)的刺激下,探討設計者的「聽覺」與「視覺」是否能同時產生反應,進而將視覺的反應物運用在產品造形設計的發想。本研究目的為:(1)探討設計系學生的聽覺與視覺共感覺概況。(2)探討設計系學生如何運用聽覺與視覺共感覺的結果於產品造形設計。(3)比較「無」音樂刺激與「有」音樂刺激時,產品造形設計的差異。與(4)比較不同的音樂類型(重節奏音樂與重旋律音樂)刺激時,產品造形設計的差異。 本研究採用實驗設計法,共抽樣20位設計系所學生進行實驗。研究第一階段為「聽覺與視覺共感覺實驗」,第二階段為「造形設計實驗」。其中,造形設計實驗又分成在無音樂刺激、重節奏音樂刺激、與重旋律音樂刺激時,分別進行產品造形的設計。研究結果發現:(1)受測者將視覺共感覺的反應物運用於產品造形設計的方式有直接運用、與轉化運用兩種。(2)在「節奏較突出」的音樂刺激時,受測者看到的畫面較多元化;在「旋律較突出」的音樂與「節奏與旋律皆突出」的音樂刺激時,受測者傾向於看到情境、場景的畫面。(3)在無音樂刺激時,受測者所繪製之造形設計案總數量比較多;但在有音樂刺激時,受測者所繪製之造形設計會增加抽象造形與動態造形的運用以及產品之紋路質感的呈現。

並列摘要


Would listening to music while designing be an inspiration for product form design to designers? The concept of synaesthesia is adopted in this research to explore the processes and the results of product form design of designers in the following three environments: without music, listening to rhythm-based music, and listening to melody-based music. Twenty design students participate in the three research experiments. Their design sketches and retrospective interviews are collected and analyzed to understand: (1) the profile of vision-hearing synaesthesia of designers, (2) how designers apply their vision-hearing synaesthesia to accomplish their tasks of product form design, (3) the comparisons between the sketches for product form design tasks accomplished in the environments with and without music, and (4) the comparisons between the sketches for product form design tasks accomplished in the environments with rhythm-based music and melody-based music. The research results indicate that there are two kinds of applications of vision-hearing synaesthesia to product form design: direct manipulation and transformation. In addition, the images of vision-hearing synaesthesia of designers aroused by different kinds of music are different. The images aroused by the melody-based music tend to be scenes; however the images aroused by the rhythm-based music are much more diversified. The sketches accomplished by designers are more in the environment without music than with music. Nevertheless, the sketches accomplished by designers in the environment with music are found to be more of the exploitation of abstract and dynamic forms and textures.

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被引用紀錄


黃郁婷(2012)。新奢華巧克力包裝之共感研究〔碩士論文,國立臺中科技大學〕。華藝線上圖書館。https://doi.org/10.6826%2fNUTC.2012.00059

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