놀이의 경험적 요소를 활용한 친근한 유희적 디자인 작품 연구

Abstract

(Background and Purpose) Modern society promotes the satisfaction of human and emotional values over material values and standardization with the development of the emotion paradigm. Likewise, the field of design has been paying more attention to enhancing the psychological satisfaction of users, as opposed to focusing solely on functions, by utilizing human sensibility values as the main resource of design. This study was initiated suggesting that the design of play objects with a strong visual stimulus or fragmentary sensibility could be problematic. (Method) First, a literature survey was performed before the creation of the design works to review the emphasis of excessive formative expressions in pursuing pleasurable design and its limitations. A case analysis was carried out about the concept of play to be utilized to support the creation of the design works and the experimental elements of the play to explore the applicability of play elements to design. Second, pleasurable design works that can induce intimate emotional communion into the users were created based on the resources obtained by the author by observing and recording the play elements to be applied to pleasurable design. The study was not finished with a single design work in order to develop the design by applying experimental elements of the play pursued by the author to the concepts and methods of different stages. (Results) In stage 1, the design was focused on the expression of “freewheelingness” and the various enjoyments of play. As the design works were developed, the author expressed the emotions of rest and arousal by means of play as in the design works of “the idle time to remain standstill to observe the phenomena” and “the natural speed and the flexible and undecided formative expression.” In stage 2 where the author’s definition of play experiences to express was clarified as “calm amusement,” the designs works acquired formative consistence. Design works of intimate and free emotions were created by combining the conflicting feelings of calmness with joyfulness expressed earlier. In stage 3 where the interpretation of play was developed and established, the expressions of objects and the formative languages were stabilized. The calm joyfulness was expressed with the objects by defining the joy of play as “a process rather than a consequence” and “an experience of flexible meditation in which intentions and non-intentions are combined.” (Conclusions) The results of this study may help to overcome the limitations of amusing design, that is, seeking sensation or fun only. The author’s design works may be utilized as reference to show that the experimental elements of play may be used to seek comfortable amusement that can induce in humans an intimate and pleasurable emotional communion.