كليدواژه :
طراحي محصول , دكوراسيون داخلي , فرش دست باف , نوستالژي
چكيده فارسي :
فرش، نشانۀ فرهنگ پر قدرتي است كه نه تنها در مقابل اقوام مختلف مقاومت كرده، بلكه فرهنگ هاي تحميلي بيگانه را در خود حل نموده و به آن سيمايي ايراني بخشيده است. اين در حالي است كه استفاده از آن در خانه هاي ايراني جاي خود را به انواع محصولات خانوادۀ مبلمان با چيدمان هايي غير ايراني مي دهد. با توجه به تأثيرات مثبتي كه اين محصول بر سلامتي روحي و رواني انسان دارد، احياء آن در قالب ساير محصولات به خصوص توليدات دكوراسيون داخلي مي تواند مفيد باشد. در اين مقاله، به بررسي معرف هاي بصري حسي فرش دست باف براي جوانان ايراني پرداخته شده است و مقصدي براي ايجاد و تعريف كاربري هاي تازۀ آن تعيين شده است. ابزار پيمايش در پژوهش كاربردي- كيفي حاضر، پرسشنامه بوده و جامعۀ آماري آن شامل تمامي افرادي است كه در معرض خريد وسايل دكوراسيون داخلي منزل قرار داشته اند. حجم نمونه اي معادل 207 نفر از افراد 25 الي 40 سال، به روش غير احتمالي- گلوله برفي انتخاب شدند. ابزار پيمايش، مشتمل بر يك پرسشنامه با ضريب آلفاي كرونباخ، 0/749 بوده است كه به صورت آنلاين و از طريق ايميل براي گروه هدف ارسال شده است. يافته ها نشان دادند اگرچه تعداد بسياري از افراد جامعۀ هدف از فرش دست باف استفاده نمي كردند اما محصول مذكور را داراي ارزش زيبايي شناختي و بعد از آن، ارزش معنوي و هويتي مي دانستند. هم چنين مشخص شد عبارت «نرم و منعطف» دربردارندۀ برداشت حسي آنها از فرش ايراني است. پاسخ دهندگان، خطوط منحني باز و مارپيچي را مصداق فرش ايراني در حوزۀ خطوط دانسته و رنگ هاي جگري، قهوه اي، قرمز و آبي سير را به ترتيب مصداق آن در ميان رنگ ها عنوان كرده اند. نتايج اين پژوهش نشان داد بيش از هر چيز در حيطۀ مبلمان، روشنايي ها و كليد و پريزهاي منزل، مي توان كاربري هاي جديدي براي فرش مستهلك تعريف نمود.
چكيده لاتين :
Carpet has been the visualization of the culture and art of Iran during different periods of history. It is the sign of an age-old, strong culture with the capacity of absorbing alien cultures and the power to give them an Iranian look. On the other hand, carpet is a nostalgic product. Studies show that nostalgia is a mechanism for dealing with the future anxiety. This means that the use of carpet is very useful in terms of physical and mental health. Nostalgia and its role have a significant place in other cultures as well. These cultures have tried to somehow establish a link between old values and the present ones, and therefore managed to make this sense of connection between the past, present and future. This is where you come across an artist named Kintsugi. In Kintsugi philosophy, the importance of the past and experience is very evident.
Unfortunately, the unusual use of this unique product in Iranian homes offers a variety of other products from the family of furniture with non-Iranian designs. The use of handmade carpets is necessary to be restored in any way, not because of its economic value, but due to its unique visual features and its obvious positive effects on Iranian souls. In this regard, knowing the reasons for this replacement and studying the consumer’s interest in this product can be a great help to find a solution to include Iranian carpets in homes today.
In this study, interest in using carpets among the Iranian youth, carpet substitute products, as well as the livelihood factors felt from carpet was studied. The survey instrument of this applied-qualitative research was questionnaire and a sample size of 200 people from 25 to 40 years old was selected randomly-snowball. The Cronbach’s alpha coefficient of the questionnaire was calculated to be 0.749, which means that it is a reliable tool for scrolling. The findings showed that although many target groups did not use handmade carpets, 80.19% of them considered the carpet as a product which has a special value. This particular value is not limited just to its economic value. They believed that the value of aesthetics, and then the spiritual value and identity of this product are of particular value. It was also found that the phrase "soft and flexible" could include emotional perception of the Iranian carpet. Respondents considered open-curved lines and spiral curves as essential elements in Iranian carpet in the field of the creating lines. Cranberry (15.18%), chocolate (10.16%), main red (8.45%) and dark blue (7.76%) were the exemplified colors of Iranian handmade carpets, respectively. As a substitute for carpets, the majority chose rugs and moquettes (44.98%), followed by parquet and wooden products, (28.71%) as the top priority. It was also found that the representation of handmade carpets in furniture and interior design products could be as acceptable as possible in terms of acceptability and sales. Based on the findings of this research, several examples of applied products that can represent Iranian handmade carpets are designed and presented.
