以符號學觀點探討現成物設計的思考邏輯

林銘煌; 林宜鄉; 王靜儀

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Social Sciences > Mass Communication

DOI： 10.6381/JD

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以符號學觀點探討現成物設計的思考邏輯

Investigating the Design Logic of the Ready-made Design from Semiotics Viewpoint

林銘煌(Ming-Huang Lin) ；林宜鄉(Yi-Shiang Lin) ；王靜儀(Ching-Yi Wang)

設計學報； 24卷2期 (2019 / 06 / 01) ， P1 - 23

繁體中文

現成物；工業設計；解構主義；達達；造形； Ready-made ； Industrial Design ； Deconstructionism ； Dada ； Form

Abstract │ Reference (59) │ Altmetrics

Abstract 〈TOP〉

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Because of its novelty and contradictory quality, ready-made designs, the combination of familiar found objects, continually develop and receive much attention since the 1990s. This study begins with the literature survey, and looks at its historical development in art and design, as well as the related academic research. By taking chair and lamp design as examples, it applies focus group method to explore how design professionals determine their preferences of the ready-made designs, and their strengths or weaknesses. We first integrate 14 assessment factors, and among them the items related to ＂meaning＂ and ＂components＂ are most relevant to this study. Compared with other research methods, semiotics approach pays much attention in content and context analysis, and it is useful for analyzing ready-made designs especially their disorder appearance and unexpected replacement. Thus, according to semiotics and structuralism viewpoint in literature, this study tries to analyze the writer's literary system (text) and surrealist painting system (picture) to infer common structure, skill of being artistic, and combination logic of the readymade design system (entity). Particularly the structure of the genealogical axes and adjacent axes in semiotics is applied to the analysis of the selection, arrangement, and conversion of existing objects for typical objects, which leads to a new interpretation of the meaning. It also explains the contradictory phenomenon that the novelty due to the familiarity. In the end, we sum up four creation logics, including: (1) the signifier is the core: starting from the found objects, (2) the operation of similarity: using or forming the typical appearance, (3) the swap of the old and new signified: changing the role and purpose of the component, (4) possible new indications: filling up components for the association.

Reference ( 59 ) 〈TOP〉

方裕民, Y. M.,林銘煌, M. H.,廖軍豪, C. H.(2006)。「失諧－解困」理論與設計邏輯中的幽默理解歷程。設計學報，11(2)，65-81。
連結：
李佩玲, P. L.(2005)。現成物對現代設計觀念的衝擊與反思。師大學報，50(1)，91-103。
連結：
劉慧雯, H. W.(2002)。Saussure 符號學理論在廣告研究中的應用：文本意義研究的更弦易幟。新聞學研究，70，197-227。
連結：
蔡秀枝, H. C.(2003)。巴特 S/Z 中的轉向與閱讀策略。中外文學，31(9)，33-66。
連結：
(2004).MoMA highlights.New York, NY:The Museum of Modern Art.

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