문화 지향형 기호해석자를 위한 형태 기호 연구

Abstract

Today one can never live a life without buying a product. Products are as various as their buyers in its kind and quantity. Under the flood of products we need to consider the meaning of the design for all. The design for all can be nothing. We need to focus on this. Then design for whom? Surely, every product has its own target. However, in general view of design, the duty of designers is to design not for whom might use it, but for whom would use it. There are a few which can be called "be designed" even though every product has its own shape. Furthermore, there should be a distinction between "the Designed" and "the Copied". The artistic touch of professional designers is not required for the Copied. Design must be something for whom wants the Designed. Because under this condition, designers can extract their potential ability for products and sophisticate users who can understand the value of design work as an opinion leader to bridge the taste of people and the products of designers. Designers never neglect users but at the same time they never fall in manerism and anachronism. Designers always can provide fresh experience and satisfaction for users by their products. If designers cannot do this properly by endless improvement and innovation, the market of the Copied , as well as the market of the Designed, would also stop its development. Then, who are the users that can lead the culture of the Designed? They can be defined as the Cultural Decoder, which is the group consists of whom are more intelligence-and-beauty-oriented with higher desire level than general people. These users can never be satisfied with plain and discriptive products. They want mental satisfaction from products. Emotional value of products is more effective than the utility of products to these people. To propose the proper symbolic strategy for them products can be segmented to three levels; Narrative, Metaphor and Omission according to their level of semiotic connotation. Then we can find out that Metaphor and Omission are the proper level for Cultural Decoder among them. To prove this, many theories of semiotics and examples are examined and it concluded that metaphor and omission are proper for aesthetics, diachronicity, enjoyment of life by products, new experience from participation, continuous relationship and care, and intellectual contentment. Surely, Cultural Decoder can be attracted by the products of Narrative level. According to the character of products three levels of symbolic strategy should be distributed properly and it is certain that this kind of approach is the most desirable. However, The main purpose of this thesis is; First, it is important to design for the people requiring high-end-edge of design as much as universal and common design. Moreover, this can give fresh energy for the development of design itself. Second, it requires to propose the design which contains the value enough to satisfy them emotionally by considering them as more intelligence-and-beauty-oriented users than others. Third, for this it is necessary to use the symbolic level of Metaphor and Omission as well as concise Narrative and this will make the deep and continuous communication between users and products possible.;본 연구에서는 기호학의 범주 중 언어학적 측면에 해당하는 ‘서사와 은유, 생략’의 개념을 다양한 이론과 사례를 가지고 분석하여 디자인의 측면에서 적용하고자 한다. 나아가 시장의 개념에 입각하여 소비자를 분류하고, 그 중 심미적이고 문화적인 가치를 기대하는 소비자를 대상으로 하는 디자인 수준에 대한 전략을 제안한다. 제품과 사용자에 따른 적절한 기호부여전략 연구를 위해서 다음과 같이 논의를 진행한다. ◁그림 삽입▷(원문을 참조하세요) 첫째, 언어적 개념을 넘어서 디자인의 영역에서 ‘서사, 은유, 생략’을 새롭게 정의하고 둘째, 기호학의 이론 가운데 디자인과 연관된 부분을 찾아 분석하고 기호수준에 대해 논의하며 셋째, 기호 해석자를 라이프 스타일에 따라 분류하고 또 다시 인지와 감성의 측면으로 세분하여 대상에 적합한 기호 수준에 관해 논의하여 넷째, 이를 실제적인 제품의 경우에 대입, 적절한 기호수준에 대해 논의 다섯째, 결과적으로 제품으로부터 함축적 기호해석을 원하는 사용자를 위한 기호수준을 제안 하도록 한다.