Design as Meaning Making: From Making Things to the Design of Thinking
Design as Meaning Making: From Making Things to the Design of Thinking
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设计作为意义创造：从制造事物到思考设计
DOI：
10.1162/074793603765201406
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发表时间：
2003
期刊：
影响因子：
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通讯作者：
Elzbieta T. Kazmierczak
中科院分区：
文献类型：
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作者：
Elzbieta T. Kazmierczak
概述本文重新定义设计的基础上实现的沟通设计，首先，关注的意义。它区分了意图、建构和接受或重建的意义。设计是指导过程的活动，并使三者之间的对应成为可能。通过关注接受的意义，它改变了设计范式，从专注于为某些用途设计对象到关注那些设计接受的认知过程。它将设计定义为能够重建预期意义的认知界面。它强调感知与意义建构之间的符号学关系，以解释交际中的感知和文化代码。这里提出的观点将设计的感知基础从独立于思维的对象本身转向这些对象作为交流手段所体现的概念特征。它重新定义了设计，从有限的，固定的审美和实际考虑的对象，符号界面，使意义的重建接收器。它通过将注意力转移到认知界面的符号功能来挑战设计对美学理由的固定。因此，设计被视为一种符号学现象，它依赖于认知和发展过程，并与包括集体和个人环境的文化编码共存。设计借鉴了图解推理的概念，并提出所有设计都被视为个人和集体文化的心理地图的图表。它对知识呈现的图解性质的关注使得智能设计的出现成为必要，智能设计通过理性选择和视觉语法的组合来告知，以诱导特定的推理，然后进行后续的行为。从历史上看，沟通设计师没有足够的理性工具来弥合意义和设计决策之间的差距。对美学和风格的依赖是这种差距的症状。本文展示了弥合这一差距的可能性。
Overview This paper redefines design based on the realization that communication design, first and foremost, concerns meaning. It distinguishes between intended, constructed, and received or re-constructed meaning. Design is the activity that directs the process, and enables the correspondence between the three. By focusing on received meaning, it shifts design paradigm, from a preoccupation with designing objects for certain uses to focusing on the cognitive processes that underlie the reception of those designs. It defines designs as cognitive interfaces that enable reconstruction of intended meanings. Its approach stresses the semiotic relations between perception and meaning construction to explain the perceptual and cultural codes involved in communication. The position presented here redirects the perceived ground for design away from objects themselves, as independent from mind, toward the conceptual characteristics these objects embody as a means of communication. It redefines designs from finite, fixed objects of aesthetic and practical consideration to semiotic interfaces enabling the reconstruction of meaning by receivers. It challenges the fixation of designs on aesthetic justification by shifting attention to the semiotic functions of cognitive interfaces. Thus, design is approached as a semiotic phenomenon, which is dependent on cognitive and developmental processes, and which coexists with cultural codifications comprising collective and individual environments. Design draws upon the concept of diagrammatic reasoning, and proposes that all designs be regarded as diagrams of mental maps of individual and collective cultures. Its focus on the diagrammatic nature of knowledge presentation necessitates the emergence of intelligent design as informed by a rational selection and a combining of visual syntax to induce specific inferences followed by subsequent behaviors. Communication designers historically have not had adequate rational tools to bridge the gap between meaning and design decisions at the level of design form manipulation. The reliance on aesthetics and style is symptomatic of this gap. This paper demonstrates the possibility of bridging that gap.