Aleksandar Čučković
Doctor of Philosophy, Faculty of Applied Arts, Belgrade


Journal 2/2006 (Museum of Applied Art), pages 107-113

7. 05 ”19/20”

Abstract (original language):
Predmet iskazuje celokupnost svog smisla preko značenja, koje se delimično može zahvatiti direktno, putem jezika, a delimično, tek posredno, putem simbola. Realni i imaginarni deo predmeta su isprepleteni i opiru se tumačenju, ali upravo u teš-koći razrešenja određenog značenjskog tipa počiva bogatstvo,

Key words: (original language)
dizajn, simbol, simboličko, znak, značenje, estetsko, funkcionalno

Manmade products, but also the objects our surroundings, acquire a certain meaning subject to the way we treat them. Design is always associated with material production and, therefore, does not reside in the medium of language but reveals its meaning indirectly, through symbols. Design symbolism is as multifaceted as is its functionality: it can be perceived through the use and production technology, through the economics of its exploitation and environmental impact, as well as through the aesthetic and symbolic effect it has on us. In this context, the levels of a designed object's meaning, namely the levels of its symbolism, through which the meaning is revealed in the most graphic manner, are also different. There appears a whole range of the designed objects' meanings which were not present in the course of their conceptualisation and production but which develop throughout their „life” in a specific environment. A for-use object is real; it has a real task to serve a purpose. However, as an aesthetic and symbolic object it also has an „unreal” dimension, which is demonstrated through the mission of awakening the imaginary. The meaning and symbolism intertwine and make up its complete meaning. It is precisely the symbolism as the unconventionality of meaning that enables the designed object to speak up through its beauty and to aesthetise our existence.

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