隱喻法轉換文化符號之商品設計研究與創作

Abstract

文化商品是一項傳播思想、符號與生活方式的消費品，與一般商品區別於文化識別的呈現，藉由文化的擷取與再設計，將文化的象徵意涵融入商品設計，以現代思維轉換文化傳統形式。近幾年市面多充斥以直接效仿或紋飾拼貼「設計」之商品，忽略文化意涵的表現和商品類型的連結。為跳脫現有框架，建立合理的設計脈絡，「隱喻」的運用是突破窘困的方法。隱喻藉由相似性映射、擷取、轉換等方式，巧妙連接文化符號與商品類型，用文化的概念包裝商品，創新商品的造形和功能，亦即詮釋文化內涵。 本研究旨在探討隱喻應用於文化商品的設計，透過隱喻和文化商品相關理論的研究，歸納隱喻設計相似性類型以及文化符號轉換至商品的設計元素，並藉由市售的文化商品分析隱喻設計模式、相似類型和文化內涵擷取類別的使用情形，探討隱喻應用於文化商品的設計模式，以建立隱喻設計流程，提供以澎湖文化為主軸的商品創作應用。 本創作選定首飾為商品類型（主體），澎湖文化（載體）為設計轉換的概念，運用案例分析所建立的隱喻設計流程，依相似類型尋找與首飾相仿的澎湖文化符號，並按照文化三層次之分類，訂定硓𥑮厝（硓𥑮石）、澎湖蒙面女郎和海上明珠為載體，建立隱喻設計模式，再者擷取文化符號的元素轉換至商品設計，創作出三系列的首飾商品。最後，整合文獻探討、案例分析和創作之結論，並提出文化商品的隱喻設計模式，以作為後續相關研究或創作的參考依據。 本研究主要結論有：（1）文化商品的隱喻設計模式融合隱喻與文化商品的設計方法，界定主體為商品類型，載體為文化符號，藉由隱喻相似類型、隱喻設計模式和文化內涵擷取類別的應用，以達到創新商品的固有形態，表現特定的文化內涵。（2）文化三層次中，形而下層次的文化符號是最常使用的元素，形而中與形而上層次則多以形而下層次的具象文化輔助設計，但需重描繪抽象概念，簡化具象文化形態，以防止模糊焦點。（3）所指相似性隱喻是文化商品最普遍的設計模式，經常搭配機能相似、象徵相似或情境相似使用，來表達商品的指示與象徵意義。能指相似性隱喻和外觀相似的合併運用，則是側重描繪文化商品外觀設計的方法。（4）隱喻設計首先須定義主體和載體，主體選擇因以可塑性高之商品類型作為依據，載體範疇則可依設計者的自身經驗作為依憑，並藉隱喻相似性類型尋找合適的載體，以建立所指或能指相似模式（5）擷取文化符號轉換之元素時，應多面向的由文化三層次中尋找相關的文化元素合併使用，以達到全面深入文化內涵。另外，擷取文化符號的同時進行創作發想，可讓擷取之元素準確的表現於商品設計中。Cultural product refers to consumer goods that aim to spread ideas, symbols, and lifestyles. Different from normal goods, it incorporates cultural imagery into the product design and transforms the way we present our culture. In recent years, counterfeit products or products with ornaments are everywhere; however, these products tend to ignore the connection between the culture and the product itself. Metaphors can be an effective tool to help designers think out of the box and design products in a systematic way. Metaphors, with the use of similarity mapping, design retrieval, and transformation, can help link up the cultural symbols with the types of commodities. With metaphors, designers can invent products with the concept of the culture in mind, which help them come up with novel ideas about the appearance and function of products. The purpose of this study was to investigate the application of metaphors to the design of cultural commodities. By studying theories regarding metaphors and cultural commodities, the types of metaphors and the design elements were generalized. The analysis of the cultural products on the market also helped understand the use of the design model of metaphor, the types of similarities, the categories of cultural content for design retrieval. The study of how metaphors were used in the process of cultural product design contributed to the development of the metaphorical design process. The design of products of Penghu culture was therefore based on the proposed design process. In this design, jewelry was chosen as the product type (tenor) while Penghu culture was chosen as the main concept (vehicle). The product design was based on the metaphorical design process, which was analyzed from the cases and looked for the symbols that can stand for Penghu culture based on the types of similarity. Based on the category of three levels of culture, coral stone houses (coral stone), masked women in Penghu, and pearl of the sea were chosen as vehicles. Next step was to develop the model of metaphorical design. Then, I incorporated the elements of cultural symbols into the product design and came up with the three jewelry products. Finally, I put together the literature review, case study, and the conclusion of my creation and came up with the metaphorical design process of cultural products, which can be used for the following related study and creation. Results include (1) the metaphorical design process of cultural products combines metaphors and the design methodology of cultural products, which makes the product type the tenor and makes the cultural symbols the vehicle. With the application of types of similarity, design mode, and the cultural design retrieval, the innovative products can remain its appearance and at the same time convey the specific cultural concepts. (2) In the three levels of culture, cultural symbols of physics are the most commonly used ones, followed by the mid-position and metaphysics which are used as an auxiliary. However, the description of abstract concepts and the simplification of cultural forms should be highly emphasized so that the focus can be clear to see. (3) The similarities between tenor signifier and vehicle signifier are quite common in design modes. They often go with the similarities between the characteristics, symbols, or scenarios. (4) The first step of metaphorical design is to define the tenor and vehicle. The tenor should be chosen based on the plasticity of the products while the vehicle is up to the personal experiences of the designer. Then, with the use of the types of similarities between metaphors, the mode is created. (5) When retrieving elements from the culture concepts, the application of three levels of culture can be a great help to fully understand the cultural concepts. Also, creative thinking is highly advised in the process of the retrieval of cultural symbols, which can be a great help to product design.