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設計理論
與技法 王思如
2020.11.27
符號社會學
設計
大師
Michael Young
I’m just looking at new yet rational ways of realizing objects.
Shin + Tomoko
Azumi 安積雙人組
Simplicity and surprise,
materiality and immateriality,
from object to space.
Chiaki Murata
村田智明
His concept of “Design of Behavior” an approach
to design based on careful observation of the users
Naoto Fukasawa
深澤直人
Something seems to exit but doesn't show
符號是一種很強大的武器
符號
社會學
8
玻璃杯
玻璃杯不僅被物理性的
當作「容納」液體的器皿
同時也是美學性地
作為「表現」液體的媒介
Reference:李明璁, 物裡學, ISBN:9789573264866
9
碗
碗這東西,既不凸出更不尖銳,相反的是凹陷而圓滑
它簡單卻精準地擬仿了人類溫潤厚實的掌心
作為一個盛載、留置、甚至掌控流體的固體物,
碗所呈現卻不是「硬派」的陽剛意象
碗比杯子開放,所以不只裝飲料還能放食物;
而它又比盤子拘謹,因此能保溫熱湯,易於端食
9
Reference:李明璁, 物裡學, ISBN:9789573264866
10
行李箱
行李箱曾是
我們與異鄉它者互動的基地
如今,則成為過去
與未來「自我」交會的領地
Reference:李明璁, 物裡學, ISBN:9789573264866
11
閱讀你手邊的文章
- 最啟發你的一句話
- 為什麼能啟發你
叉子 耳機 冷凍櫃 垃圾桶 門 雨傘 碗 鬧鐘 手機 圍巾 抽屜
設計大師的性暗示
By Bathroom ManiaBy Guido Venturini
By Mr. P
設計大師的性暗示
By Philippe StarckBy Mendini Alessandro
會心一笑的設計
設計的幽默感
影響行為的設計
今日
練習 書的展示
符號的斷 用 連
18
認知落差
認知體驗架構
應用於設計的符號語言
認知慣性的覺察
思考框架的看見
慣性的
顛覆
認知操作的
互動
與重新啓動
多元認知彈性的
啟發與力量
刺激 覺察 反應(行為)
刺激 覺察 反應(情緒)
Reference:林盈孜, 工研院
19
創意啟發卡
翻轉認知、創新體驗的設計手段
斷 用 連
概念扭轉
製造衝突
認知特質 形成效果
20
發想規則
1. 每組一碟卡牌,
翻開正面在桌上
2. 輪流選取斷卡或連卡一張
3. 將剩餘的卡牌翻成用卡
4. 順時針請下一位組員,幫你
挑選一張用卡
5. 記下你選取到的卡牌
6. 將卡牌放回,全部翻回正面
7. 順時針輪到下一位組員,執
行2~6步驟
8. 個人依據所選的卡牌訊息,
進行概念聯想
21
兩點透視
手繪草圖的基本結構
Reference: https://seal656.pixnet.net/blog/post/38553905
22
產品手繪
Reference: https://www.xuehua.us/a/5eb52a0e86ec4d479fdbd893?lang=zh-tw
23
概念草圖
24
4:00|評圖
從班上所有作品中挑選:
最有創意的設計概念x4
25
作品上傳
上傳項目:
- 產品概念草圖x3
上傳區:
Trello/B_設計法則/該組
- 課堂筆記與心得
作業
27
課堂
筆記與心得
第1週 第2週 第3週 第4週 第5週
- Team 1 Team 2 Team 3 Team 2
- Team 4 Team 5 Team 1 Team 4
第6週 第7週 第8週 第9週 第10週
Team 3 Team 1 Team 2 Team 3 Team 2
Team 5 Team 4 Team 5 Team 1 Team 5
第11週 第12週 第13週 第14週 第15週
Team 3 Team 1 Team 2 Team 1 -
Team 1 Team 3 Team 5 Team 3 -
每堂課分配三組
輪流製作心得筆記
A4 word至少一頁
隔天17:00前放上
Trello/課堂筆記與心得/該週列表
遲交者視同沒交
筆記與心得成績將影響該階段組
員的成績
臺灣科技大學.2020
王思如
設計理論
與技法

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Editor's Notes

  1. 英國設計師 橙果設計 在實現設計中找尋新的常規
  2. 從物件到空間,並存著簡單與驚喜
  3. 追尋一切存在的基本原理 對物品的存在意義、存在形態不斷重複思考和探索,最終形成METAPHYS的設計風格
  4. 他的設計作品被普遍人認為是樸素、不須思考就能使用的。 而他本人稱之為「without thought」 目前是日本品牌無印良品的設計師, 也自行成立了「Naoto Fukasawa Design」工作室 「設計,應回歸簡單,應回歸本質」 「因此,我的作品絕不加過多的裝飾或功能。」 「如何能without thought?我認為只要產品能呈現人類共同的經驗時,不必講解, 大家就知道怎麼用,就像拿到保特瓶,就知道如何開瓶蓋。我的設計就是找出人類共同的行為。」 「好的設計,是好像有卻又沒有的設計(Something seems to exit but does’nt show)。」 「只是找到人類那些被忽略了的行為。」 深澤的「設計」並非創造什麼新東西,而是彷彿原本就存在在那裡似的 深澤的設計目標,僅僅只是找出使用者在使用該產品時與氛圍之間到底產生怎樣的輪廓, 並把那個輪廓和氛圍所區隔的產品範圍設計出來而已 設計是對人、對自然環境、對上述組成「氛圍」的各種元素的大量體會、理解、與思考的結果
  5. 心智圖:這本書的展示面向 創中學:這本書的展示型態