文化消費空間－解讀「家」的意象：以無印良品與宜家家居之比較研究

The Study of Cultural Space and the 「Homes」images：A comparative study of Muji and IKEA

曾薏丞(Yi-Cheng Tseng)

指導教授 ： 許傳陽

淡江大學/文學院/大眾傳播學系碩士班/碩士(2011年)

https://doi.org/10.6846/TKU.2011.00180

摘要

由於台灣經濟起飛、國民消費能力隨著增加，使消費社會逐漸形成。這意謂我們進入以消費「符號」、消費「空間」為特色的大眾消費社會，同時也象徵消費時代來臨。在消費時代逐漸形成趨勢的同時，文化消費空間結合了各種東西方元素。消費空間與「生活風格」具有極大的關聯，透過各種品牌的推銷與形塑，空間文化移植了這些符號與暗示。隨著消費時代的來臨，讓人們逐漸體會居家風格的差異性，並顛覆傳統消費者對「家」的意象與期待，在此過程中建構自我及生活風格意象。「家」除了扮演避風港的用途外，其包括自我認同、生活風格展現、品味的秀異等不同層面的意涵。
本研究以文化消費空間、Baudrillard與Bourdieu所提出之消費相關論述作為理論視野，以選擇知名家飾傢俱品牌：無印良品與宜家家居為研究個案，運用內容分析、二手資料分析及參與觀察法，針對無印良品與宜家家居的現場展示空間進行分析，以描繪隱含其中的生活風格及家的意象。
本研究發現，無印良品在空間符號的使用上著重於感性的、簡單俐落的、現代的、自由的、寂靜的；生活風格則展現「簡約無華的日本樣貌」、「平淡無色的生活智慧」、「商品會說話」、「生活中的建議者」、「意義深遠的禪道哲學」；因此對無印良品而言，家是寧靜的靜心場所、個人省思空間以及充份再現日本文化下的禪美學。宜家家居在空間符號的運用上強調感性的、多元複雜、傳統的、歡樂的；生活風格則呈現「正統的北歐瑞典血統」、「平民美學的生活哲學」、「你就是最好的設計師」、「不只是賣傢俱，是賣家」及「兒童的遊樂場」；因此對宜家家居而言，家是製造快樂的歡樂場所、全家人維持關的空間及延伸北歐文化下的自由風格。
承上述，本研究主要在探討空間中所呈現家的意義，從無印良品與宜家家居兩者的消費空間來反映意義與事實，藉由該過程詮釋各自不同家的樣貌，嘗試從符號消費、文化品味、階層區分的角度，來了解文化消費空間的更深意涵：展場空間的主要消費人口－中產階級、展場空間代表流行文化與休閒文化的象徵、中心�邊緣關係的文化擴散之關係。

關鍵字

文化消費空間 ； 生活風格 ； 無印良品 ； 宜家家居

並列摘要

As Taiwan's economy takes off, our consumption continuously increases which gradually forms the consumer society. This conversion leads us to the public consumption society with traits of consumption of semiotics and spaces. With the coming of consumption era, culture consuming space integrates elements of Eastern and Western cultures. The consuming space gets huge connection with “lifestyle”. Through the promotion of the different brand, consuming space culture shifts these signs or symbols. As the consumption era comes, consumers’ perspective of house arrangement overthrows traditional images and anticipations of house, and reveals self-images and lifestyles. Besides playing the role of refuge, home also shows self-recognition, lifestyle, and self-taste.
The researcher uses Baudrillard and Bourdieu’s statements of culture consuming space as base of theoretical assumptions, and chooses famous furniture brands：MUJI and IKEA to be the research study. By using content theory, secondary data analysis, and participant observation, the researcher analyses lifestyle and home image hidden in the exhibition space and within the study.
The findings are as follows: MUJI, making use of symbols in space, focuses on the emotion, simplicity, neatness, modernism, freedom, and quietness. Its life style shows simple and concise Japanese style, sincere and honest life of wisdom, commodities talks, proponents of life, philosophy of Zen. Therefore, for MUJI, home is a place of meditation, a space of introspection, and the sense of Zen aesthetic of Japanese culture.IKEA , making use of symbols in space, focuses on the emotion, diversity, complexity, tradition, happiness. Its life style presents “descent of Nordic Swedish orthodoxy”, “civilian’s philosophy of life”, “You are the best designer”, “Not just selling furniture, but Home and children’s playground”. Therefore, to IKEA , home is the section of happiness, a location of maintaining relationship, and extension of the Nordic free-style culture.
This research explores the meaning of home displayed by space. Through the consumption space of both MUJI and IKEA, the research reflects the significance and the truth. And through the process of interpretation these two brands, the research shows the different appearance, and tries to use methods of symbol consumption, culture tastes, and stratum to understand cultural consumption space thoroughly, including “middle-class, the main consumer of exhibition space”, “the symbol of the popular culture and leisure culture that exhibition space presents”, and “the relationship between the center and edge that spread between culture.

並列關鍵字

Cultural Space ； Lifestyle ； IKEA ； Muji

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