樋口 孝之

In order to assist designers and managers in improving the aesthetic experience of cultural packaging, this study investigated the cultural Chinese liquor packaging (CCLP) from the perspective of cultural spatial levels. Using a questionnaire survey, it firstly investigated whether customer's aesthetic experience varied with outer and inner levels of cultural elements within CCLP. Additionally, it explored the interactions between cultural elements, design elements, and aesthetic experience within CCLP when it is equipped with two levels of cultural elements. The results showed that: (1) there was no significant difference between different levels of cultural elements in generating aesthetic experiences in CCLP, which indicated a certain spatial level of cultural elements do not have an inherent superiority in staging aesthetic experiences. And (2) according to the correspondence of design element's performance and evoked aesthetic experience, this study classified CCLP's design elements based on Kano's model. This classification can provide important reference for designers, as it implies multiple design elements' different priorities when staging aesthetic experience and guides designer's efforts, facilitates design work efficiency, and encourages effectiveness.

This paper chronicles and reflects upon the experiences gathered from a design workshop conducted at Chiba University, with students from Chiba University, Köln International School of Design and with the support of Fujitsu. During the workshop, participants were invited to continuously build and prototype their ideas, rather than following the conventional design process of idea generation, visualization and, only at a later stage, prototyping. Such a hands-on approach proved beneficial in the communication among participants as well as in simplifying the design process. In fact, by working on quick and approximate prototypes, participants could more easily express their ideas overcoming language barriers and visual representation skills. Furthermore, physical prototypes helped participants to identify the key aspects of their proposals and focus on those. Finally, those prototypes also served as useful props to enact the experience of using the proposed artefacts and services.

本稿では，明治20年代にみられた意匠奨励の言説における語「意匠」の論じられ方を検証し，「意匠」の意味内容について考察を行った。当時は美術と工芸が次第に区分されるようになってきた時代であり，工芸においては，工匠が高い製作技術を有しながらも，製品へ優れた意匠を適用することが少ないことが指摘されていた。そのため，工芸界の指導者あるいは識者により意匠考案の奨励がなされ，制作における，意匠のはたらきが説かれた。大村西崖は「意匠論」と題する論説を発表し，「落想」の概念とその重要性を示しながら，美術や工芸における「意匠」の意味とはたらきを論じた。前田健次郎は「日本意匠会」と称する会を発足させた。それらの言説の多くでは，手工の技能である技術と並べて，製品や絵画をかたち・色・図柄として具現化する過程における思考上の技能として意匠が肝要であると説かれた。これらの言論を通して，語「意匠」は，美術あるいは工芸における特定の行為・思考を指し示す術語としての意味内容を明確にしていった。