Código e artefato: uma abordagem semiótica do design
This monograph is based on the assumption that Design is a language, and as such, it manifests itself as meaningful messages, built by a designer endowed with certain knowledge, inserted in a particular context and circumstance, who seeks to be understood by his enunciatee, that is submitted to infl...
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Design Linguagem Semiótica Comunicação Produção sígnica Código e mensagem |
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Design Linguagem Semiótica Comunicação Produção sígnica Código e mensagem Sousa, Gustavo Augusto Lima de Código e artefato: uma abordagem semiótica do design |
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This monograph is based on the assumption that Design is a language, and as such, it manifests itself as meaningful messages, built by a designer endowed with certain knowledge, inserted in a particular context and circumstance, who seeks to be understood by his enunciatee, that is submitted to influences of a context and circumstance as well. From this premise, the present work aims to investigate how the artifacts, understood as messages, are elaborated by Design language and, hence, how their meanings are built. At the end of this study, a schematization of that construction was proposed, by the means of an elementary model of the designer’s sign production activity. To accomplish the mentioned objectives, Semiotics, the classical field on the study of the several forms of manifestations of languages, was elected as the main contributor in this reflexive inquiry on the designer’s activity. From the large extension of the semiotic field, this research focuses on the works of the semioticians Roland Barthes (2009; 2012; 2013) and Umberto Eco (1981; 2004; 2014; 2016) and their inquiries about the construction of meaning in cultural objects. Therefore, one of the main methodological resources used in this monograph was a literature review of pertinent works from the cited authors to the matter in question, along with subsequent enumeration of a series of operational semiotic concepts, as they are comprehended by the Semiotics field, so that the possibilities and limitations of their applications to the field of Design can be verified. Consequently, the efficiency of the use of those concepts in Design was tested by using an analysis of three artifacts from different systems of objects, namely: The Well-Tempered Chair (1986), by the designer Ron Arad (1951 –); the automobile Fiat Toro® 2017, produced by Fiat Group; and the bottle of perfume Araucária, produced by the L’Occitane au Brésil® group. After the analyses, it was confirmed the communicative power of the artifacts, the possibility of the development of a specific rhetoric language in the area of Design, as well as the importance of the management of cultural codes, inseparable from certain contexts and circumstances, in the construction and interpretation of messages. Finally, based on the discussion of the theoretical assumptions and the analyses’ results, a model of sign production was proposed in order to describe the process of structuring messages in Design. The model highlights the relevance of cultural codes, the consideration of contexts and circumstances, the interdisciplinarity, the limitations and the designer’s creative options, as well as the influences of external agents to the process of conception itself, such as advertising and marketing. With the proposal of that model, this monograph aims to offer a contribution for a reflection about the activity of designers, from the point of view of its sintatic-semantic communicational aspects. |
| author2 |
Bastos, Helena Rugai |
| author_facet |
Bastos, Helena Rugai Sousa, Gustavo Augusto Lima de |
| format |
bachelorThesis |
| author |
Sousa, Gustavo Augusto Lima de |
| author_sort |
Sousa, Gustavo Augusto Lima de |
| title |
Código e artefato: uma abordagem semiótica do design |
| title_short |
Código e artefato: uma abordagem semiótica do design |
| title_full |
Código e artefato: uma abordagem semiótica do design |
| title_fullStr |
Código e artefato: uma abordagem semiótica do design |
| title_full_unstemmed |
Código e artefato: uma abordagem semiótica do design |
| title_sort |
código e artefato: uma abordagem semiótica do design |
| publisher |
Universidade Federal do Rio Grande do Norte |
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2018 |
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https://repositorio.ufrn.br/handle/123456789/47381 |
| work_keys_str_mv |
AT sousagustavoaugustolimade codigoeartefatoumaabordagemsemioticadodesign |
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1773963570872057856 |
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ri-123456789-473812023-02-23T18:39:26Z Código e artefato: uma abordagem semiótica do design Sousa, Gustavo Augusto Lima de Bastos, Helena Rugai Bastos, Helena Rugai Bessa, Olavo Fontes Magalhães Muneiro, Lilian Carla Design Linguagem Semiótica Comunicação Produção sígnica Código e mensagem This monograph is based on the assumption that Design is a language, and as such, it manifests itself as meaningful messages, built by a designer endowed with certain knowledge, inserted in a particular context and circumstance, who seeks to be understood by his enunciatee, that is submitted to influences of a context and circumstance as well. From this premise, the present work aims to investigate how the artifacts, understood as messages, are elaborated by Design language and, hence, how their meanings are built. At the end of this study, a schematization of that construction was proposed, by the means of an elementary model of the designer’s sign production activity. To accomplish the mentioned objectives, Semiotics, the classical field on the study of the several forms of manifestations of languages, was elected as the main contributor in this reflexive inquiry on the designer’s activity. From the large extension of the semiotic field, this research focuses on the works of the semioticians Roland Barthes (2009; 2012; 2013) and Umberto Eco (1981; 2004; 2014; 2016) and their inquiries about the construction of meaning in cultural objects. Therefore, one of the main methodological resources used in this monograph was a literature review of pertinent works from the cited authors to the matter in question, along with subsequent enumeration of a series of operational semiotic concepts, as they are comprehended by the Semiotics field, so that the possibilities and limitations of their applications to the field of Design can be verified. Consequently, the efficiency of the use of those concepts in Design was tested by using an analysis of three artifacts from different systems of objects, namely: The Well-Tempered Chair (1986), by the designer Ron Arad (1951 –); the automobile Fiat Toro® 2017, produced by Fiat Group; and the bottle of perfume Araucária, produced by the L’Occitane au Brésil® group. After the analyses, it was confirmed the communicative power of the artifacts, the possibility of the development of a specific rhetoric language in the area of Design, as well as the importance of the management of cultural codes, inseparable from certain contexts and circumstances, in the construction and interpretation of messages. Finally, based on the discussion of the theoretical assumptions and the analyses’ results, a model of sign production was proposed in order to describe the process of structuring messages in Design. The model highlights the relevance of cultural codes, the consideration of contexts and circumstances, the interdisciplinarity, the limitations and the designer’s creative options, as well as the influences of external agents to the process of conception itself, such as advertising and marketing. With the proposal of that model, this monograph aims to offer a contribution for a reflection about the activity of designers, from the point of view of its sintatic-semantic communicational aspects. Esta monografia parte do pressuposto de que o Design é uma linguagem e, como tal, manifesta-se por meio de mensagens significativas, construídas por um designer dotado de certos saberes, inserido num determinado contexto e circunstância, e que busca ser compreendido pelo seu enunciatário, também submetido às influências de um contexto e circunstância. A partir dessa premissa, o presente trabalho objetiva investigar como os artefatos, compreendidos como mensagens, são formados pela linguagem do Design e, logo, como seus significados são construídos. Ao fim desse estudo, propôs-se a esquematização dessa construção, por meio de um modelo elementar de produção sígnica da atividade do designer. Para atingir os objetivos citados, a Semiótica, área por excelência de estudo das diversas formas de manifestação de linguagens, foi eleita como a principal coadjutora nessa investigação reflexiva sobre o fazer do designer. Da grande extensão do campo semiótico, este estudo concentra-se nos trabalhos dos semioticistas Roland Barthes (2009; 2012; 2013) e Umberto Eco (1981; 2004; 2014; 2016) e suas inquirições acerca da construção do sentido de objetos culturais. Assim, um dos principais recursos metodológicos desta monografia foi a revisão bibliográfica das obras pertinentes ao assunto dos autores citados, com a subsequente enumeração de uma série de conceitos semióticos operacionais, tal como são compreendidos dentro da Semiótica, para sua posterior verificação de possibilidades e limitações de aplicação ao campo do Design. Em seguida, a eficácia do uso desses conceitos em Design foi testada por meio da análise de três artefatos provenientes de sistemas de objetos diferentes, a saber: The Well-Tempered Chair (1986), do designer Ron Arad (1951 –); o automóvel Fiat Toro® 2017, produzido pelo Grupo Fiat; e o frasco de perfume Araucária, produzido pelo grupo L’Occitane au Brésil®. Após as análises, confirmaram-se o poder comunicativo dos artefatos, a possibilidade do desenvolvimento de uma retórica própria da linguagem do Design e a importância do manejo de códigos culturais, inseparáveis de determinados contextos e circunstâncias, na construção e interpretação das mensagens. Por fim, com base na discussão dos pressupostos teóricos e nos resultados das análises realizadas, um modelo de produção sígnica foi proposto na tentativa de descrever o processo de estruturação das mensagens no Design. O modelo ressalta a importância dos códigos culturais, a consideração dos contextos e circunstâncias, a interdisciplinaridade, as limitações e as opções criativas do designer, bem como o trabalho de agentes externos ao processo de concepção propriamente dito, como a publicidade e o marketing. Com a proposição desse modelo, a monografia busca servir de contribuição para uma reflexão sobre a atividade dos designers, de um ponto de vista dos seus aspectos comunicacionais sintático-semânticos. 2018-04-24T22:41:54Z 2022-05-25T12:19:34Z 2018-04-24T22:41:54Z 2022-05-25T12:19:34Z 2017-12-04 bachelorThesis 2013064564 SOUSA, Gustavo Augusto Lima de. Código e artefato: uma abordagem semiótica do design. 2017. 170 f. Monografia (Bacharel em Design) - Departamento de Artes. Universidade Federal do Rio Grande do Norte, Natal, 2017. https://repositorio.ufrn.br/handle/123456789/47381 pt_BR openAccess application/pdf Universidade Federal do Rio Grande do Norte Brasil UFRN Design |