| Summary: | 碩士 === 國立成功大學 === 工業設計學系 === 87 === The research starts on the issue of the essence of "object" and restudy the essence of industrial design as well as its cultural position, thereby indicates that the meaning of designed-object''s existence lies in it''s being a〝cultural product〞, not just in it''s being a merchandise with exchange value in capitalistic market. Meanwhile, "nature of design"exists in "interpreting"rather than "solving"therefore, the theory of design communication rooted in the cultural totality is the key point of accomplishing aforesaid ones.Processed with expansive review, it is supposed the defect of industrial design today is embedded in the fallacy of positivism, and affirmed that positivism presents "paradigm of engineering design"#34quantitative research"#34cognitive science"and "industry" Furthermore, those are mostly integrated in industrial design nowadays, so as apart from life-world. Through the contrasting research between the theory of technical-oriented and cultural-oriented ones, this research tries to figure out the possibility of avoiding the above failings by use of "positivism"humanistic science as the basis of the theory of design communication, to respond to the domains which abandon the failings mentioned above. By the way, this research comes around to stand with "#34﹑ "#34﹑and "Knowing"as the pedestal of design theory to construct a theory on the basis of humanistic science.In the contrast research among "#34﹑ "#34﹑and "Knowing" this research strains to restudy the insights and blindness of them according to my viewpoint, in order to reconfirm the possibility of building the theory of design communication based on "positivism"humanistic science to evolve the work of building theory; the while redefine the "object"as "text" and suggest "Hermeneutics two-way approach"DHTA) as a first trail. DHTA is not only the theory could match the "text" but also the design process for it, therefore, DHTA would not present itself as a single gesture, but an approach in which the theory and method could coexist. At the same time, it is not a method but a process of interpreting for "in-culture"it rooted in the designer''s mental model, that denotes "Action-Imaginary"TAIM) which undertaken by this research to replace cognitive science model, not the model according to cognitive science. The attempt of this whole research is to reconstruct a theory of design communication based on the cultural totality. DHTA, as such a theory, not merely contributes to avoid the shortcoming that design is always alienated from life-world, but enables designer''s mental model (TAIM) to express itself. Then designer would understand users much more; in this way, we could identify design according to the cultural totality to present it''s characteristic of cultural product.
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