产品设计中感性因素与理性因素的研究
摘要
感性与理性是产品设计过程中既对立又相互依存的两个方面，充分了解和把握它们两者的关系，无论对产品开发设计的实际操作，还是对于产品设计的方法理论都有重要的意义。
产品的一个重要方面是与受众发生关系，也就是说产品要有接受者，否则产品只是设计者的作品，而不是真正的产品。这个关系是受众对产品的认知。在认知过程中，感性与理性是人类认知活动和思维的两个方面，影响着受众在面对产品、消费产品和使用产品的时候的种种反应。这些反应有些是基于理性层面上，有些是基于感性层面上的。
产品的各种构成元素，包括产品的功能、结构、材料、造型、色彩等等各方面，这些构成元素在整合成为产品的同时，也向人们传递各种不同性质的信息。设计师的任务就是如何将各种元素整合处理，使产品的各个构成要素很好地服务于产品设计的要求。这些构成元素也是产品设计的影响因素。影响产品设计的因素有感性的方面也有理性的方面。这两种设计因素在产品设计中呈现出不同的特点和作用，使产品在最终外观形态上表现出较大的差异性，满足不同方面的要求。
产品最终要落到消费者或用户手中，设计专业工作者要解决的一个重要问题是如何让非专业的受众接受和理解产品，满足受众的要求。感性设计与理性设计各分担着不同的责任。感性设计赋予产品更多的人性化，使产品更加亲人，易于接受。理性设计则用合理原则，逻辑原则来指导设计，使产品更合理，更浅显易懂。设计师通过理性分析创造出产品的“逻辑形式”，又通过感性认识，为这一逻辑形式注入情感，以表现和传达人类情感，创造出或给予产品以性格，使其能与人类融合，生产工具能真正成为人类的双手与大脑的延伸，生活用品能成为人类的友伴。
本文通过讨论感性与理性的关系和作用，以得出有效的设计方法或原则，为设计思路和人工智能设计提供更全面的参考。
The sensitivity and the logic are the two opposite factors during the product design while they are also interdependent. Not only for the practice of the product design, but also for the method and theory of the product design, it is importantly meaningful to grasp the relationship between the two factors.
One of the important factors to the product is that the product must be accepted. Or the product can only be called the work of the designer. The relation between the product and the accepter can be called the cognition. The sensitivity and the logic are the two factors in the cognition activity and the thinking activity. The two factors affect the behavior and the reaction of the accepters when they are facing, consuming and using the products. Some of the behavior and the reaction are based on the sensitivity factors, and the others are based on the logic factors.
Many of the factors, such as function, structure, material, form, color and so on, constitute a product, and also convey much different information to our people. The designer acts as a role that will handle all kinds of different factors in order to make the product factors fulfill the demand of the product design. These factors also influence the product design. Some is from the sensitivity factor, and the other is from the logic factor. They are so different from each other in the character and in the function of the product design. As a result the products appear to be so different. This will fulfill every demand.
All the products will be used by the consumers finally. The designers must solve an important problem. The problem is how to make the common man accept and understand the product and how to fulfill the demand of them. To solve the problem the sensitivity design and the logic design act as different roles. The sensitivity design gives the product much more human nature. It will make the product easy to accept. The logic design follows the rule of the reason. It will make the product more reasonable and easy to use. The designer creates the reason form through the logic study. And he or she injects his or her emotion and creates the human nature through the sensibility cognition in order to convey the human emotion. This will make good communication between the product and our human being. As a result the
manufacture tools can really help people to work better and the life products can become our friends.
An effective design method and principle will be found through studying their function and studying the relationship between the sensitivity and the logic. As a result it will offer great reference to the design ideas and the artificial intelligence design work.
产品的一个重要方面是与受众发生关系，也就是说产品要有接受者，否则产品只是设计者的作品，而不是真正的产品。这个关系是受众对产品的认知。在认知过程中，感性与理性是人类认知活动和思维的两个方面，影响着受众在面对产品、消费产品和使用产品的时候的种种反应。这些反应有些是基于理性层面上，有些是基于感性层面上的。
产品的各种构成元素，包括产品的功能、结构、材料、造型、色彩等等各方面，这些构成元素在整合成为产品的同时，也向人们传递各种不同性质的信息。设计师的任务就是如何将各种元素整合处理，使产品的各个构成要素很好地服务于产品设计的要求。这些构成元素也是产品设计的影响因素。影响产品设计的因素有感性的方面也有理性的方面。这两种设计因素在产品设计中呈现出不同的特点和作用，使产品在最终外观形态上表现出较大的差异性，满足不同方面的要求。
产品最终要落到消费者或用户手中，设计专业工作者要解决的一个重要问题是如何让非专业的受众接受和理解产品，满足受众的要求。感性设计与理性设计各分担着不同的责任。感性设计赋予产品更多的人性化，使产品更加亲人，易于接受。理性设计则用合理原则，逻辑原则来指导设计，使产品更合理，更浅显易懂。设计师通过理性分析创造出产品的“逻辑形式”，又通过感性认识，为这一逻辑形式注入情感，以表现和传达人类情感，创造出或给予产品以性格，使其能与人类融合，生产工具能真正成为人类的双手与大脑的延伸，生活用品能成为人类的友伴。
本文通过讨论感性与理性的关系和作用，以得出有效的设计方法或原则，为设计思路和人工智能设计提供更全面的参考。
The sensitivity and the logic are the two opposite factors during the product design while they are also interdependent. Not only for the practice of the product design, but also for the method and theory of the product design, it is importantly meaningful to grasp the relationship between the two factors.
One of the important factors to the product is that the product must be accepted. Or the product can only be called the work of the designer. The relation between the product and the accepter can be called the cognition. The sensitivity and the logic are the two factors in the cognition activity and the thinking activity. The two factors affect the behavior and the reaction of the accepters when they are facing, consuming and using the products. Some of the behavior and the reaction are based on the sensitivity factors, and the others are based on the logic factors.
Many of the factors, such as function, structure, material, form, color and so on, constitute a product, and also convey much different information to our people. The designer acts as a role that will handle all kinds of different factors in order to make the product factors fulfill the demand of the product design. These factors also influence the product design. Some is from the sensitivity factor, and the other is from the logic factor. They are so different from each other in the character and in the function of the product design. As a result the products appear to be so different. This will fulfill every demand.
All the products will be used by the consumers finally. The designers must solve an important problem. The problem is how to make the common man accept and understand the product and how to fulfill the demand of them. To solve the problem the sensitivity design and the logic design act as different roles. The sensitivity design gives the product much more human nature. It will make the product easy to accept. The logic design follows the rule of the reason. It will make the product more reasonable and easy to use. The designer creates the reason form through the logic study. And he or she injects his or her emotion and creates the human nature through the sensibility cognition in order to convey the human emotion. This will make good communication between the product and our human being. As a result the
manufacture tools can really help people to work better and the life products can become our friends.
An effective design method and principle will be found through studying their function and studying the relationship between the sensitivity and the logic. As a result it will offer great reference to the design ideas and the artificial intelligence design work.
引文
[1] 何人可．工业设计史．北京：北京理工大学出版社，1992
[2] Hiesinger. K., Marcus. G. Design Since 1945. London: Thame & Hudson, 1983
[3] Lize Sanders. Applying Interaction Design: Design for real people with real people. Innovation, 2001, spring:64-67
[4] 赵江洪．设计艺术的含义．长沙：湖南大学出版社，1999
[5] 戴晓莉．产品的信息交流：[硕士学位论文]．湖南大学图书馆：湖南大学，2002
[6] 陈望衡．艺术设计美学．武汉：武汉大学出版社，2000
[7] Dormer Peter. The Meaning of Modern Design. London: Thames and Hudson Ltd., 1991
[8] 章利国．现代设计美学．郑州：河南美术出版社，1999
[9] 简召全．工业设计方法学．第二版．北京：北京理工大学出版社，2002
[10] Archer L. Bruce. Systematic Method for Designer. London: Council of College of Art, 1965
[11] (美)John B．Best 著 黄希庭 译．认知心理学．北京：中国轻工业出版社，2000
[12] 李维．认知心理学研究．杭州：浙江人民出版社，1998
[13] 田运．信息与思维．福州：福建教育出版社，1990
[14] (德)马克斯．本泽，伊丽莎白．瓦尔特 著 徐恒醇 译．广义符号学及其在设计中的运用．北京：中国社会科学出版社，1991
[15] (美)鲁道夫．阿恩海姆 著 腾守尧 译．视觉思维——审美直觉心理学．成都：四川人民出版社，1998
[16] (美)鲁道夫．阿恩海姆 著 腾守尧 朱疆源 译．艺术与视知觉．成都：四川人民出版社，1998
[17] 杨春鼎．直觉、表象与思维．福州：福建教育出版社，1990
[18] (德)莫里茨．盖格尔 著．艾彦 译．艺术的意味．北京：华夏出版社，1999
[19] 许明．美的认识活动．广州：花城出版社，1987
[20] 赵连元．审美艺术学．北京：首都师范大学出版社，2002
[21] Ravi K. Sawhney. The Psycho-aesthetics Martini. Innovation, 2001, summer: 50-53
[22] 彭立勋．美感心理研究．长沙：湖南人民出版社，1985
[23] Engd J F, R D Blackwell, P W Miniard. Consumer Behavior. Chicago: The Doyen Press, 1990
[24] 李彬彬．设计心理学．北京：中国轻工业出版社，2001
[25] Michael E. Wiklund. The Vision Statement for Product Design:In Your Mind's Eye. Innovation, 2001, spring: 31-35
[26] Griffin, Abbie, John R. Hauser. The Voice of the Customer. Marketing Science, 1993,12(1):1-27
[27] (英)C．H．费劳斯奇姆 著 陈宗穆 译．工程中的工业设计．北京：世界图书出版公司，1991
[28] 刘国余，沈杰．产品基础形态设计．北京：中国轻工业出版社，2001
[29] 程能林．产品造型材料与工艺．北京：北京理工大学出版社，1991
[30] 张建成．产品设计与开发．台北：中国台湾六合出版社，1997
[31] Karl T. Ulrich, Steven D. Eppinger. Product design and Development. New York: McGraw-Hill, Inc.,2000
[32] Anscombe I.. Art & Craft Style. London: Phaidon Press, Oxford, 1991
[33] (美)斯蒂芬．贝利，菲利普．加纳 著 罗筠筠 译．20世纪风格与设计．成都：四川人民出版社，2000
[34] 陈健．理性与游戏．杭州：浙江人民美术出版社，2000
[35] 袁熙旸．新现代主义设计．南京：江苏美术出版社，2001
[36] 詹和平．后现代主义设计．南京：江苏美术出版社，2001
[37] 何晓佑，谢云峰．人性化设计．南京：江苏美术出版社，2001
[38] 李龙生．艺术设计概论．合肥：安徽美术出版社，2001
[39] Jones J. Christopher. Design Methods. New York: Willey & Sons, 1980
[40] Olins, Wally. Corporate Identity: Making Business Strategy Visible through Design. Boston: Harvard Business School Press, 1989
[41] Asimow M. Introduction to Design. New York: Prentice Hall, 1962
[42] (美)弗兰西斯．弗兰契娜，查尔斯．哈里森 编 张坚，王晓文 译．现代艺术与现代主义．上海：上海人民美术出版社，1996
[43] 郭廉夫，张继华．色彩美学．西安：陕西人民美术出版社，1997
[44] 束定芳．隐喻学研究．上海：上海外语教育出版社，2000
[2] Hiesinger. K., Marcus. G. Design Since 1945. London: Thame & Hudson, 1983
[3] Lize Sanders. Applying Interaction Design: Design for real people with real people. Innovation, 2001, spring:64-67
[4] 赵江洪．设计艺术的含义．长沙：湖南大学出版社，1999
[5] 戴晓莉．产品的信息交流：[硕士学位论文]．湖南大学图书馆：湖南大学，2002
[6] 陈望衡．艺术设计美学．武汉：武汉大学出版社，2000
[7] Dormer Peter. The Meaning of Modern Design. London: Thames and Hudson Ltd., 1991
[8] 章利国．现代设计美学．郑州：河南美术出版社，1999
[9] 简召全．工业设计方法学．第二版．北京：北京理工大学出版社，2002
[10] Archer L. Bruce. Systematic Method for Designer. London: Council of College of Art, 1965
[11] (美)John B．Best 著 黄希庭 译．认知心理学．北京：中国轻工业出版社，2000
[12] 李维．认知心理学研究．杭州：浙江人民出版社，1998
[13] 田运．信息与思维．福州：福建教育出版社，1990
[14] (德)马克斯．本泽，伊丽莎白．瓦尔特 著 徐恒醇 译．广义符号学及其在设计中的运用．北京：中国社会科学出版社，1991
[15] (美)鲁道夫．阿恩海姆 著 腾守尧 译．视觉思维——审美直觉心理学．成都：四川人民出版社，1998
[16] (美)鲁道夫．阿恩海姆 著 腾守尧 朱疆源 译．艺术与视知觉．成都：四川人民出版社，1998
[17] 杨春鼎．直觉、表象与思维．福州：福建教育出版社，1990
[18] (德)莫里茨．盖格尔 著．艾彦 译．艺术的意味．北京：华夏出版社，1999
[19] 许明．美的认识活动．广州：花城出版社，1987
[20] 赵连元．审美艺术学．北京：首都师范大学出版社，2002
[21] Ravi K. Sawhney. The Psycho-aesthetics Martini. Innovation, 2001, summer: 50-53
[22] 彭立勋．美感心理研究．长沙：湖南人民出版社，1985
[23] Engd J F, R D Blackwell, P W Miniard. Consumer Behavior. Chicago: The Doyen Press, 1990
[24] 李彬彬．设计心理学．北京：中国轻工业出版社，2001
[25] Michael E. Wiklund. The Vision Statement for Product Design:In Your Mind's Eye. Innovation, 2001, spring: 31-35
[26] Griffin, Abbie, John R. Hauser. The Voice of the Customer. Marketing Science, 1993,12(1):1-27
[27] (英)C．H．费劳斯奇姆 著 陈宗穆 译．工程中的工业设计．北京：世界图书出版公司，1991
[28] 刘国余，沈杰．产品基础形态设计．北京：中国轻工业出版社，2001
[29] 程能林．产品造型材料与工艺．北京：北京理工大学出版社，1991
[30] 张建成．产品设计与开发．台北：中国台湾六合出版社，1997
[31] Karl T. Ulrich, Steven D. Eppinger. Product design and Development. New York: McGraw-Hill, Inc.,2000
[32] Anscombe I.. Art & Craft Style. London: Phaidon Press, Oxford, 1991
[33] (美)斯蒂芬．贝利，菲利普．加纳 著 罗筠筠 译．20世纪风格与设计．成都：四川人民出版社，2000
[34] 陈健．理性与游戏．杭州：浙江人民美术出版社，2000
[35] 袁熙旸．新现代主义设计．南京：江苏美术出版社，2001
[36] 詹和平．后现代主义设计．南京：江苏美术出版社，2001
[37] 何晓佑，谢云峰．人性化设计．南京：江苏美术出版社，2001
[38] 李龙生．艺术设计概论．合肥：安徽美术出版社，2001
[39] Jones J. Christopher. Design Methods. New York: Willey & Sons, 1980
[40] Olins, Wally. Corporate Identity: Making Business Strategy Visible through Design. Boston: Harvard Business School Press, 1989
[41] Asimow M. Introduction to Design. New York: Prentice Hall, 1962
[42] (美)弗兰西斯．弗兰契娜，查尔斯．哈里森 编 张坚，王晓文 译．现代艺术与现代主义．上海：上海人民美术出版社，1996
[43] 郭廉夫，张继华．色彩美学．西安：陕西人民美术出版社，1997
[44] 束定芳．隐喻学研究．上海：上海外语教育出版社，2000