「設計」甫開始，就充分運用了功能主義這個概念。然而，「經設計」物品的「功 能」運作，卻無法替設計取人文文化脈絡裡的名聲。相反的，理論家總將設計視為一個美學 的課題，並由此確認設計在文化中所扮演的角色。西方文化歷史中，從現代主義的純幾何形 式，乃至後現代主義精神分析理論的歡愉，廣泛地討論並企圖界定設計的重要性。人們愈來 愈執意於如何在美感上滿懷「歡愉」地，製造與消費「物品」。但是有關設計之文化情境的 討論，九０年代卻出現一個轉折。從感知和視覺享受的世界，（回）到行動與身體挪用的世 界，重構設計實踐，而形成一種以倫理學重置設計的觀點。以此為起點，我們試圖重新發現 設計及其文化。

　　　　　Since its birth, Design has been identified with functionalism. However, the "functional" operation of "designed" object fails to earn the design practice the recognition in the context of human culture. Instead the theorists have always tried to position design as a problematic of aesthetics. From this perspective, they endeavour to settle the role of Design plays in culture. In the history of western culture, long discussion has been led from Modernist platonism of pure form to post-modernist psychoanalytic theory of pleasure in defining the significance of design. Peole are becoming more and more obsessed about how to make and consume "things" aesthetically and with "pleasure". In the 90's, there is a breakthrough in the discussion of the cultural situation of Design among the prominent designers. The re-orientation of design practice from the world of perception and visual appreciation (back) to the world of action and bodily appropriation form an ethical vision to re-position Design. From this vantage point, we try to rediscover Design and its culture.