کاربرد دانش تریز جهت تبیین جایگاه طراحی خلاقانه در سرامیک های کاربردی معاصر ایران (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
امروزه به دلیل تغییرات گسترده ای که در سبک زندگی مردم ایجاد شده ، شاهد دگرگونی های زیادی در درک زیبایی شناسانه از مصنوعات و کارکرد آنها هستیم که نیازمند شکلی خلاقانه در طراحی و تولید محصولات هنرهای کاربردی، خصوصاً سرامیک های کاربردی که دارای حضوری پررنگ در خانه و آشپزخانه مردم است می باشد. در این مقاله با بهره گیری از روش تریز ، به تبیین شاخصه های طراحی خلاقانه و کارکردهای آن در سرامیک های کاربردی معاصر ایران پرداخته شده است. برای این منظور 25 نمونه سرامیک کاربردی از میان 5 کارگاه تولید نیمه ماشینی سرامیک انتخاب و بر اساس زمینه های چهارگانه: مولفه های فنی، عناصر بصری، مواد اولیه و اهداف کاربردی، جهت تعیین تناقضات حل شده در روش تریز تحلیل شد. این پژوهش از جنبه هدف زیر مجموعه پژوهش های کاربردی و از جنبه ماهیت جزو تحقیقات توصیفی تحلیلی قرار دارد. نتایج، وجود 4 شاخصه اصلی و 7 شاخصه فرعی که منجر به بهبود 14 خصیصه شده اند را نشان می دهد. نام گذاری این شاخصه ها بر اساس پارامترهای 39گانه آلتشولر صورت گرفته است. جداول حل تناقضات نمونه ها، جدول تعیین سطوح خلاقیت و نمودار پراکندگی راه حل های مبتکرانه در هر زمینه، جایگاه طراحی خلاقانه را روشن تر ساخته و نهایتاً بر اساس یافته های فوق، فضاهای بکر طراحی خلاقانه در سرامیک های کاربردی معاصر ایران شناسایی شده است.The function of TRIZ in detecting Innovative Design in contemporary applied ceramics of Iran
Due to the long history of applied ceramics, especially in Iran, and its importance in human survival and evolution mentally and physically, it consistently is one of the most applied arts. Today, because of vast changes that occurs in people lifestyles, we consider a lot of alternation in their aesthetic understanding and even function which needs an innovative method in designing and making applied objects, especially in the applied ceramics that has a strong presence at homes and kitchens of people. Therefore, the design process, as we have seen in the recent period, is not due to precise and reliable planning, but rather as a response to the changes that have been made in the broader social and cultural context in which the design is carried out. In several studies, researchers have sought to examine various aspects of pottery and ceramics during different periods of Iranian civilization, but considering the few studies that have taken place in the field of innovative design in contemporary Iranian ceramics, the necessity of doing such research is doubled. In this paper, using the TRIZ method, the characteristics of the design and its functions in contemporary Iranian ceramics are explained. TRIZ The aim of this study is to recognize the status of innovative design in contemporary applied ceramics of Iran, achieving to the innovative designs features and its function in the evolution of contemporary Iran applied ceramics production. From the aim point of view, this research is subset of functional studies and from the aspect of matter, it is an analytical description research. Information was collected through library and field study methods (questionnaire, interview and direct observation) and In order to analyze the data, the theory of inventive problem solving has been used quantitatively and qualitatively. The results show the existence of 4 main attributes and 7 sub-attributes that contribute to the improvement of the 14 features. The naming of these features is based on the Altshuller 39 parameters. The tables for solving sample contradictions, determining the levels of creativity and the dispersion chart of innovative solutions in each field brighten the design of creative design and finally, based on the above findings, the pristine spaces of innovative design have been identified in Iran's contemporary applied ceramics. In this regard, after recognizing the creative problems from four bases: technical features, material, visual elements and qualities and functional goals in successful examples, it becomes clear that the features such as change physical and chemical status, combination, phase shift and local quality are the main properties of innovative design in contemporary applied ceramics of Iran. Undoubtedly, collecting and compiling the information for the correct analysis of the samples was encountered with many difficulties. In this regard, the help and support of Mahfouz, Ninot Ceramic, Verris Art, Jeiran Gallery and Holbar Ceramic in the knowledge of the information that is considered confidential by producers and interviewing with the professors of Iran's contemporary pottery and ceramics, has been fruitful.