禪風產品意象與特徵探討

Abstract

隨著時代變遷、世界經濟架構不斷轉變，過往以製造、技術為主的經濟結構已被感覺、經驗為主體的感覺經濟所取代。綜合上述背景，產品風格不再囿於外在、功能形式，轉究人和產品間的互動經驗、感受層次。古老禪哲學所帶來的美學影響與變革，涉及形式表現、思維觀念、生活方式與價值角度等轉變。但鑑於國內在禪思維美學研究上，多重於宗教、哲學、文學與艱澀語意學探討，將學說應用於產品意象範疇的研究並不多見，雖有一些以主觀創作的探討，但較缺客觀性和系統性的探究。故本研究旨在針對禪風意象和產品特徵間的關聯進行探討；透過前期文獻分析、質性訪談探究禪美學認知、核心價值，綜合禪於各藝術、設計領域表現探究，並比較禪(風)與極簡主義於理念、形式之異同。後期以量化研究對產品意象與造形特徵關係做為客觀驗證。量化研究分成兩階段進行，第一階段就9種風格概念(茶室、茶道、枯山水、wabi-sabi、東方風格、北歐風格、現代主義、極簡主義、後現代主義)和禪風進行意象的比較，理解各風格間認知的差異與相似性；第二階段以焦點小組所挑選的32件產品(包含相似、相異性樣本)進行測試討論。上述兩部分皆以16組感性語彙透過問卷調查，以SD法對32名設計背景、38名非設計背景者進行感受評估。所得資料使用因素分析、複回歸分析等交叉探討，以瞭解不同背景受測者對意象語彙、造形喜好和感覺認知關係，以及誘發禪風意象的造形特徵屬性。質性和量化分析結果顯示，設計師和一般人對禪風認知差異並未有顯著差異；禪風意象是個性化、保守的、質樸的、靜態的、簡潔的、鮮明的、輕巧的、隨意的、柔和的、圓滑的、古典的、溫馨的，和茶室、東方風格意象相似，與茶道、現代主義、極簡主義、後現代主義意象較不相似。禪風產品主要應用於椅子、燈具、容器等產品，而當產品的禪風意象程度越高，其被喜好度也越高。禪風產品造形特徵大略為曲線構建之原型外觀，捨去特殊表面處理而呈現低裝飾性，並以素樸色、天然材料混搭。本研究結果期望能給予設計師在進行禪風產品設計時，對禪風意象感覺、造形元素與處理手法上的參考。

With the advance of times, the world economic structure continuously changes, the manufacturing and technology economic structure of the past has been replaced by the economic structure mainly based on feeling and experience. Considering the above background, product style is no longer limited to external form and function, but has extended to including interactive experience and emotion between people and products.

The aesthetics influence and changes brought by the ancient Zen philosophy, involve the transformation of expression forms, thinking, lifestyle and value perspective. The domestic studies of Zen aesthetic in the past emphasized mostly on religion, philosophy, literature and incomprehensible semantics study; few studied its application to the product image, although some studies have subjectively applied it to design creation, they lack of objective and systematic inquiry. Therefore, this study aims to objectively and systematically investigate the correlation between Zen image and product features. First, through the literature review and qualitative interviews to explore the cognition and core value of Zen aesthetics, to summarize the application of Zen to art and design and to compare the similarities and differences of concept and form between Zen and minimalism. Secondly, the quantitative research on product images and form features was conducted to objectively clarify and further verify the result. The quantitative research was divided into two phases: the first phase of study is to explore the cognitive similarities and differences between nine styles (teahouse, tea ceremony, dry landscape, wabi-sabi, Oriental style, Nordic style, modernism, minimalism and postmodernism) and Zen style by comparing their image constitution; the second phase of study, 32 product samples (including products and products with different style) selected by focus group were evaluated by 32 design background and 38 non-design background subjects on the SD scale with 16 image vocabulary. Factor analysis and multiple regression analysis on the collected data were implicated to understand the difference of image vocabulary, preference and cognition on Zen style between subjects with different background, as well as to find out the form features that could induce Zen images.

The result of qualitative and quantitative analysis indicated that the cognition difference on Zen style between designers and general people wasn’t significant. Zen image is constituted by personalized, conservative, simple, static, concise, bright, light, casual, soft, smooth, classical and warm image. It is more similar to image of teahouse, Oriental style image, and less similar to image of tea ceremony, modernism, minimalism, postmodernism. Zen style was most often applied to products of chair, lighting and container. The higher degree of Zen style a product is recognized, the more it will be preferred. The form features for inducing product‘s Zen image include prototype form with curves, removing special surface treatment, low decoration, and mixing simple color with natural materials. The result of this study is expected to provide references for product designers designing products with Zen image or for researchers in studying the feeling of Zen image.