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題名：產品造形情感意象的認知探討
作者：蕭坤安 引用關係
作者(外文)：Kun-An Hsiao
校院名稱：國立臺灣科技大學
系所名稱：設計研究所
指導教授：陳玲鈴
學位類別：博士
出版日期：2006
主題關鍵詞：產品造形；情感反應；基礎向度；認知空間；多元向度評量法；造形形變；內插法；造形認知；fundamental dimensions；perceptual space；multidimensional scaling；morphing shapes；interpolation method；shape cognition.；affective responses；product shape
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本論文嘗試釐清產品造形與其情感意象之關係，並了解哪些設計因子對於造形的情感意象有所影響？以下分成三個方向作探討：
(I).“產品造形情感意象的基礎向度”：在這項探討中，我們在造形情感意象中抽離出四個基礎向度：“潮流性因子”、 “情感因子”、 “複雜性因子” 及“強度因子”。同時也在這四個基礎向度中萃取出“顯著的造形特徵”及特徵等級程度，以協助在產品造形上產生特定的情感意象。(II).“應用造形形變於產品造形情感意象的探討”：經由利用多元向度評量法所建構的偏好性認知空間來進一步探討產品造形形變與情感意象反應之關係。其結果顯示：(1) 兩代表性造形所產生的中間形變造形，會變得比原代表性造形更複雜。(2)整體形變認知空間可以用”感性—理性”(X軸)與”簡潔—複雜”(Y軸)這兩個大軸向作區分。(3) 在形變情感意象的造形中可區分成造形外觀上量與質的兩種感知模式。(4)經統計檢定，原代表造形、形變25/75及形變50/50這三類造形，其平均距離原點的距離、造形美感及喜好程度的平均得分上，三類造形的差異都不顯著(P>0.05)。(III).“設計師如何應用內插(interpolation)的方式處理產品造形的情感意象”：實驗結果顯示四種設計師會應用的方法：(1) “以均化造形為基礎的內插法”，(2) “以單一來源產品造形為基礎的內插法”，(3) “以設計概念為基礎的內插法”及(4) “以造形元素組合為基礎的內插法”。研究發現：設計師在處理新的造形設計時，會有朝向設計得更新穎或更現代的趨勢。同時，設計師在簡單―複雜軸向的造形內插操作上比其他情感意向軸向來得容易。分析四種應用內插方法所獲得的平均距離顯示：應用“以均化造形為基礎的內插法”最接近平均造形。
造形形變是一種整體且寫實的造形產生工具，在比較電腦的形變造形與設計師應用內插法所產生的造形後，我們發現設計師在設計草圖的表達上較靈活且超越外形的層次。未來若能對於產品造形情感反應的操作與認知間之關係有更深入之了解，形變造形就能協助設計師產生更具高美感及消費者更喜愛的產品出來。
In this research, we seek to clarify the relationship between product shape and affective responses, and to identify the factors that influence the affective images of products. Three topics are discussed:
(I). “Fundamental dimensions of affective responses to product shapes”. We distilled four fundamental dimensions in the affective responses: the “trend factor” T, the “emotion factor” E, the “complexity factor” C and the “potency factor” P. We also extracted “significant shape features” (SSFs) and feature levels that help to create specific affective images for products in the four dimensions.
(II). “Affective responses toward morphing product shapes”. Using the perceptual space obtained by applying multidimensional scaling method, we probed into the relationship between morphing shapes and their affective responses. The results show: (1) Morphed shapes contain more complexity than the original shapes in the affective response. (2) The whole perceptual space could be characterized by two main axes: emotional-rational (X-axis) and simple-complex (Y-axis). (3) We found two levels of image cognition for morphing shapes: quantitative perception and qualitative perception. (4) The test results indicate that there are no significant difference (P>0.05) between the average distances, average scores of aesthetic feeling and preference for three categories shapes.
(III). “How designers use interpolation to manipulate affective responses of product shapes.” We derive four representation modes used by designers when dealing with interpolation of two product images: (1) interpolation based on average shape, (2) interpolation based on one source shape, (3) interpolation based on concepts and (4) interpolation based on element combination. We found that designers tend to give more fresh and modern images in new kettle between two sources kettles, than a simple average. It also indicates that the operations of interpolation image in the simple-complex axis are easier to control. Analyzing the average distance of four interpolation methods shows that interpolation based on average shape produces closer approximation to the “average shape”.
Shape morphing is an integral and realistic shape creation tool. Comparing computer morphing method and designer’s interpolation, we found that design sketches are much more flexible and the interpolations are performed on more than the shapes. In the future, with more understanding in the relationship between operation and cognition for affective responses of product shapes, morphed shapes can help create products with high levels of aesthetic images and favorable responses from consumers.
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