設計史跨界書寫探究設計文化研究

Exploring the Studies of Design Culture from the Transdisciplinary Writing of Design History

翁註重(Ju-Joan Wong)

設計文化 ； 設計史 ； 視覺文化研究 ； 新自由主義 ； Design Culture ； Design History ； Visual Culture Studies ； Neoliberalism

設計學報

21卷4期（2016 / 12 / 01）

45 - 60

繁體中文

本研究從設計史的發展脈絡，檢視設計文化此一新興研究領域的浮現：近因是設計史在1990 年代受到來自設計研究社群，挑戰其學術霸權位置，設計史需要重新建立其正當性。遠因則是設計史長期和文化研究、人類學，以及科技與社會研究（STS）等進行跨領域的知識交流，奠定了革新的知識基礎。本文透過相關理論的耙梳，釐清設計文化的研究旨趣及關切議題。由於現代設計夾帶在全球化浪潮的席捲下，擴張到邊陲地區，深入了人們的日常生活；設計物不斷向視覺、產品、空間等領域推進，彼此交錯共構，也重組了設計的專業分工。借鏡視覺文化研究，設計文化更試圖超越其視覺中心主義的侷限，打破影像、產品及空間的分野，融合了相關社會人文學科的理論觀點，包括文化研究、人類學／消費研究、科技與社會研究等，從（設計師與設計論述的）價值創造、創意生產，以及消費操演三個面向展開，形成新的研究架構和探討主題。如此一來，設計文化不僅跨越了設計史的藩籬，與時俱進，更強化了其回應新自由主義下，日益複雜的現實之學術活力。

This study aims to explore under what academic background the studies of design culture emerged from the development of design history. In the 1990s, research groups focusing on design challenged the academic dominance of design history, thus, it was necessary to re-establish its legitimacy. Moreover, the long-term interaction between design history and cultural studies, anthropology, science, technology, and society (STS), have laid a knowledge foundation for such reform. The research interests and main concerns of design culture are clarified through demonstrating the theoretical relation between design history and related theories. In reality, modern design has extended to border areas to become a part of people’s daily life in the wave of globalization. Design artifacts have continued to advance to other research fields: such as visual, product, interior design, etc., which integrates and reconstructs the professional division. Using visual cultural research as the method, design culture tries to exceed the limit of visual- centrism to break the dividing line of images, products, and interiors, and form a new research frame and topic by combining the theoretical viewpoint of humanities and social sciences, including culture research, anthropology/consumption study, STS, etc., with emphasis on three aspects- (designer and design discourse) value creation, production of creativity, and consumption practice. Thus, design culture not only crosses the boundaries of design history to advance with the time, but also enhances academic vitality, which becomes complex in order to respond Neoliberalism in reality.

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