Seeing artifacts of our daily lives as ＂design＂ often intuitively reminds us of their practical functions. But if we change the perspective to ＂art,＂ concerns over whether they are useful or not quickly disappears. Post-modernism, developed since the early 1980s, has paradoxically put this clearly divided ＂design vs. art＂ dualism into question. As a result of its impacts, artifacts that are not very practical, can sometimes turn into ones that are full of emotional attraction and creative charms. This phenomenon, as expected, evokes doubts, rejection, and criticisms from the mainstream design. But a few of these design cases had earned the symbolic status of design revolution that forces us to reflect upon the essence of design. Some became successful market hits, others evolved into highly representative series of concept commodities, and the best of them even entered the permanent collections of famous galleries or prestigious museums. The tremendous progress of technology has now allowed us to design products with great practical utilities and even emotional quality. Given this background, how are we supposed to conceive these oddly appeared ＂novel objects＂? What are their roles and meaning? What can we reasonably expect their impacts and evaluate their influences? These are the issues that this research project sets out to explore. To tackle the above-mentioned issues, the article adopts literature review, case study, and interpretative methods to investigate novel objects with ＂ontological interrogation＂, ＂guiding concept＂, ＂related dimensions＂ and ＂case analysis＂ and hence reach our conclusions. We expect the results of this research project to offer new direction of reflection beyond ＂traditional framework＂ and provides empirical references for business practitioners, creative workers, and design educators.