90年代現成物設計開始漸受注意，利用現有構件所進行的拼接式外觀，創作出令人感到熟悉卻又充滿新意的作品。本研究先從文獻探討開始，縱觀現成物在藝術和設計上的歷史發展脈絡以及相關的學術研究。進一歩導入符號學的觀點進行分析，因為相較於其他研究方法，符號學研究更加注重文本的剖析，有利於分析現成物設計看似嬉戲、失序的外表和物件間意想不到的替換。基於同樣強調創作的藝術表現，故循序藉由分析作家的文學體系（文字）和超現實主義繪畫體系（圖片），來推敲現成物設計體系（實體）在意義和構件之間變化的邏輯。過程中再應用焦點團體法，以單椅、燈具設計為例，探索設計專業人員判定現成物設計在構想上的各種優劣和強弱的原因，並整合成14項評估考量的因素，其中尤以涉及到「意義」和「構件」的項目與本研究最為相關。其中透過套用符號學中系譜軸和毗鄰軸的架構，剖析現成物因典型物件的選擇、安排和轉換，造就人們在意義上的新解讀，並解釋能指在新的脈絡中因物件的熟悉感反而帶來新奇感這個看似矛盾的現象。最後研究歸納了4點創作邏輯，輔助詮釋設計創作時，加強深度思考，包括：1.能指為核心：從現有物件出發；2.相似性的運作：善用或組成典型的外觀；3.新舊所指的拉扯：變化構件的身份和用途；4.可能的新所指：賦予連結的組件。

Because of its novelty and contradictory quality, ready-made designs, the combination of familiar found objects, continually develop and receive much attention since the 1990s. This study begins with the literature survey, and looks at its historical development in art and design, as well as the related academic research. By taking chair and lamp design as examples, it applies focus group method to explore how design professionals determine their preferences of the ready-made designs, and their strengths or weaknesses. We first integrate 14 assessment factors, and among them the items related to ＂meaning＂ and ＂components＂ are most relevant to this study. Compared with other research methods, semiotics approach pays much attention in content and context analysis, and it is useful for analyzing ready-made designs especially their disorder appearance and unexpected replacement. Thus, according to semiotics and structuralism viewpoint in literature, this study tries to analyze the writer's literary system (text) and surrealist painting system (picture) to infer common structure, skill of being artistic, and combination logic of the readymade design system (entity). Particularly the structure of the genealogical axes and adjacent axes in semiotics is applied to the analysis of the selection, arrangement, and conversion of existing objects for typical objects, which leads to a new interpretation of the meaning. It also explains the contradictory phenomenon that the novelty due to the familiarity. In the end, we sum up four creation logics, including: (1) the signifier is the core: starting from the found objects, (2) the operation of similarity: using or forming the typical appearance, (3) the swap of the old and new signified: changing the role and purpose of the component, (4) possible new indications: filling up components for the association.