SEMIOTICS IN PRODUCT DESIGN

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MAHMOUDI FATANEH; LEZGI S.H.A.

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Journal: HONAR-HA-YE-ZIBA Year:2008 | Volume:- | Issue:34 Page(s): 71-80

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Information Journal Paper

Title

SEMIOTICS IN PRODUCT DESIGN

Author(s)

MAHMOUDI FATANEH | LEZGI S.H.A. | Issue Writer Certificate

Keywords

AESTHETIC OF PROCDUCTQ3

IDENTITY AND LANGUAGE OF PRODUCTSQ2

PRODUCT DESIGNQ2

SEMIOTICQ3

Abstract

This text is an attempt to show how SEMIOTIC study can be used to understand aspects of PRODUCT DESIGN. I will bring up some of the most common concepts and ideas in SEMIOTICs and see how they can be understood in a design context. I will also use these theories to analyse some underlying values and concepts in design theory like the complex interplay between meaning and form.. I do not use SEMIOTICs to inform other designers of how they should do better products, but rather as a tool for criticising and reflecting about seemingly natural ways of designing. To apply SEMIOTICs on PRODUCT DESIGN has provided me with a set of invaluable tools for analysing issues like identity, metaphors and visibility inartefacts. SEMIOTICs became a popular approach to cultural studies in the late 1960s, partly as a result of the work of Roland Barthes. In his book Mythologies he analysed advertisement and media and showed how seemingly familiar things signify all kinds of ideas about the world. Product Semantics was a theory developed by Reinhardt Butter and Klaus Krippendorf in the eighties and was influenced by contemporary continental philosophy. The good design approach is strong in Sweden where Rune Mon. His book Design for product understanding attempts to develop a language of form for PRODUCT DESIGNers mainly based on Pierce and the German linguist Karl Baler. Tools for designing and analysing products based on the concepts icon, index and symbol. Studying SEMIOTICs can assist us to become more aware of reality as a construction and of the roles played by ourselves constructing or designing it. The relation between content, form and technology in contemporary PRODUCT DESIGN is highly complex. The aesthetical theories of modernism are still very much alive, not the least in the very tangible form of buildings, products and art that constitutes our material culture. This text wants to show how we can understand and analyse these phenomenas using methods from SEMIOTICs. By doing so we will be better equipped to design the products and information technology of the future. A lot of very useful SEMIOTIC has been done in the past decades; I just want to mention the works of Roland Barthes, Jean Baudrillard, Umberto Eco, Claude Levi-Strauss and many others. They are all operating on the same idea, that first and second functions (connotations and denotations) are both important for the worlds of products. Product semantics was developed and introduced by Krippendorff and Butter and is defined as the study of symbolic qualities of man-made shapes, in the cognitive and social context of their use. According to this definition, product semantics is concerned with the relationship between the user and the product on one hand, and the importance that objects assume in an operational and social context on the other hand. This text is an attempt to show how we can understand and analyse these phenomenas using methods from SEMIOTICs. By doing so we will be better equipped to design the products and information technology of the future.

Cites

AESTHETIC APPROACHES TO PRODUCT DESIGN AND DEVELOPMENT

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APA: Copy

MAHMOUDI, FATANEH, & LEZGI, S.H.A.. (2008). SEMIOTICS IN PRODUCT DESIGN. HONAR-HA-YE-ZIBA, -(34), 71-80. SID. https://sid.ir/paper/5708/en

Vancouver: Copy

MAHMOUDI FATANEH, LEZGI S.H.A.. SEMIOTICS IN PRODUCT DESIGN. HONAR-HA-YE-ZIBA[Internet]. 2008;-(34):71-80. Available from: https://sid.ir/paper/5708/en

IEEE: Copy

FATANEH MAHMOUDI, and S.H.A. LEZGI, “SEMIOTICS IN PRODUCT DESIGN,” HONAR-HA-YE-ZIBA, vol. -, no. 34, pp. 71–80, 2008, [Online]. Available: https://sid.ir/paper/5708/en

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