| 當期課號 |
7321 |
Course Number |
7321 |
| 授課教師 |
林登立 |
Instructor |
LIN,TENG LI |
| 中文課名 |
設計與社會 |
Course Name |
Design and Society |
| 開課單位 |
工業設計系碩士班二A |
Department |
|
| 修習別 |
選修 |
Required/Elective |
Elective |
| 學分數 |
3 |
Credits |
3 |
| 課程目標 |
為人類而設計是工業設計的一個重要的主流概念，但是有關人類的設想似乎過於化約為個人，甚至包括生活形態研究亦有此傾向，殊不知人是存在歷史、社會、文化的洪流之中，簡單的說，人是社會性的動物，設計師要瞭解人類的需求，尚必須從使用者所處的歷史文化中去探求，不但如此，在講求設計對於使用者的意義的新設計時代，設計更需從社會文化中，去瞭解與尋求能讓使用者感動或與使用者有關連的設計元素，而社會文化到底是什麼？如何瞭解之？其內容為何？社會文化曾如何的影響設計？在往後的設計上又當如何考慮社會與文化？這些問題的釐清是本課程的主要目標。 |
Objectives |
Design for people is an important mainstream concept of industrial design. However, all the related considerations of people have been reduced to individual. So are the studies of life style. However, we have to know people do exist in the powerful current of history, society, and culture. In short, people are socialized animal. To understand human needs, a designer has to explore through the history and culture of the intended users. Furthermore, in the new design age of emphasizing the meaning of design toward the users, design activities had better dig into the social culture to understand and to figure out what are the design elements which can be employed to touch the emotion of the users. Nevertheless, what is social culture? How can we understand it? What are its contents? How will social culture influence design? How should a design take into account the society and culture. The clarification of all of these questions is the main objective of this course. |
| 教材 |
自編講義
1. 星野克美等著，黃恆正譯【符號社會的消費】，台北，遠流出版社，1991
2. 余德彰、林文綺、王介丘著，【劇本引導】，台北，田園城市文化事業，2001 |
Teaching Materials |
|
| 成績評量方式 |
1. 期中報告
2. 期末報告 |
Grading |
1.Report.
2.Mid-Term Presentation. |
| 教師網頁 |
|
| 教學內容 |
本課程以符號學的觀點解析文化創意設計，視產品造型為一承載訊息的符號，並探討社會、文化的演變過程及設計思考、創意發展之間的交互作用。 |
Syllabus |
In designing form of product, we should build a form semiotic system that must contain meaningful construction messages and could be realized and interpreted, connected and organized. But while most of students are doing form design, they do not apply to visual communication. So, sometimes they will say ‘no idea’ about form. Being a form-semiotic system, we could refer form to six forms of Chinese characters because the relation between signifier and signified of Chinese characters are meaningful close and reflect on cognitive nature. ‘Xiangxing’ of six types of Chinese character is simplified pictograph, ‘Zhishi’ is representing an abstraction as a simple ideograph, and the rest of four types of characters are combinations of these pictographs and ideographs. Six types of Chinese characters can interpret thousands of complicated Chinese characters. Form of product must contain interpreted meaning as semantic information is contained in Chinese characters. This is the reason why I motivate students applying six types of Chinese character as principle to create product form in course of ‘Product Semantics’. The goals of this study are as follows:
Interpreting the principle of six types of Chinese character.
Analyzing the result that students use six types of Chinese character as principle to create product form.
Realizing the reception and reaction of students about this experiment. |