Código e artefato: uma abordagem semiótica do design

• Autor(a) principal: Sousa, Gustavo Augusto Lima de
• Data de Publicação: 2017
• Tipo de documento: Trabalho de conclusão de curso
• Idioma: por
• Título da fonte: Repositório Institucional da UFRN
• Texto Completo: https://repositorio.ufrn.br/handle/123456789/47381
• topic: 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.