{"title":"设计融入:宜家作为个人体验","authors":"D. Trendafilov","doi":"10.18680/HSS.2018.0010","DOIUrl":null,"url":null,"abstract":"Providing deep and memorable experience to the consumers—in various manners and \nthrough all channels possible—is undoubtedly amongst the key factors for success in contemporary \nmarkets. Moreover, companies need to consider the trends of gamification, personalization, \neco-living as well as the extremely short life-cycle of their products. In this context, \ndesign is getting more and more important in branding and consumer’ perceptions about \nthe quality and benefits of the product available. It serves as a tool of communication not \nonly for what the product is, but how it works and how exactly it will become part of the \neveryday life of the consumers as well. As such, design, in branding perspectives, has an active \nrole and engages consumers in new kind of relationships that go beyond pure aesthetics. This \narticle is an effort for a socio-semiotic analysis of the set of practices that IKEA implements \nregarding the use of design as a main basis on which it tries to create, deliver and maintain \nvalue of its huge global audience. What makes the company unique is its multimodal approach \nin terms of design-based brand management, point-of-sale design, furniture design, \nentire home interior solutions, catalogue design, and last but not least, lifestyle design. We \ncan easily point out that it has built its own brand meaning by forming a recognizable and \nself-centered semiosphere, that highly influences the whole category it operates in, and sets \nthe rules in people’s self-expression, on the one hand, and their attitude towards the notion \nof ‘home’, on the other-home as constantly moving ‘immobility’ similar to fashion trends and \npractices. IKEA is a very good example of design semiotics, applied in marketing activities \nand real life as successfully mixing its own production with customers’ desire for designing \ntheir own unique world of objects.","PeriodicalId":36248,"journal":{"name":"Punctum International Journal of Semiotics","volume":"18 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Design incorporated: IKEA as personal experience\",\"authors\":\"D. Trendafilov\",\"doi\":\"10.18680/HSS.2018.0010\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Providing deep and memorable experience to the consumers—in various manners and \\nthrough all channels possible—is undoubtedly amongst the key factors for success in contemporary \\nmarkets. Moreover, companies need to consider the trends of gamification, personalization, \\neco-living as well as the extremely short life-cycle of their products. In this context, \\ndesign is getting more and more important in branding and consumer’ perceptions about \\nthe quality and benefits of the product available. It serves as a tool of communication not \\nonly for what the product is, but how it works and how exactly it will become part of the \\neveryday life of the consumers as well. As such, design, in branding perspectives, has an active \\nrole and engages consumers in new kind of relationships that go beyond pure aesthetics. This \\narticle is an effort for a socio-semiotic analysis of the set of practices that IKEA implements \\nregarding the use of design as a main basis on which it tries to create, deliver and maintain \\nvalue of its huge global audience. What makes the company unique is its multimodal approach \\nin terms of design-based brand management, point-of-sale design, furniture design, \\nentire home interior solutions, catalogue design, and last but not least, lifestyle design. We \\ncan easily point out that it has built its own brand meaning by forming a recognizable and \\nself-centered semiosphere, that highly influences the whole category it operates in, and sets \\nthe rules in people’s self-expression, on the one hand, and their attitude towards the notion \\nof ‘home’, on the other-home as constantly moving ‘immobility’ similar to fashion trends and \\npractices. 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Providing deep and memorable experience to the consumers—in various manners and
through all channels possible—is undoubtedly amongst the key factors for success in contemporary
markets. Moreover, companies need to consider the trends of gamification, personalization,
eco-living as well as the extremely short life-cycle of their products. In this context,
design is getting more and more important in branding and consumer’ perceptions about
the quality and benefits of the product available. It serves as a tool of communication not
only for what the product is, but how it works and how exactly it will become part of the
everyday life of the consumers as well. As such, design, in branding perspectives, has an active
role and engages consumers in new kind of relationships that go beyond pure aesthetics. This
article is an effort for a socio-semiotic analysis of the set of practices that IKEA implements
regarding the use of design as a main basis on which it tries to create, deliver and maintain
value of its huge global audience. What makes the company unique is its multimodal approach
in terms of design-based brand management, point-of-sale design, furniture design,
entire home interior solutions, catalogue design, and last but not least, lifestyle design. We
can easily point out that it has built its own brand meaning by forming a recognizable and
self-centered semiosphere, that highly influences the whole category it operates in, and sets
the rules in people’s self-expression, on the one hand, and their attitude towards the notion
of ‘home’, on the other-home as constantly moving ‘immobility’ similar to fashion trends and
practices. IKEA is a very good example of design semiotics, applied in marketing activities
and real life as successfully mixing its own production with customers’ desire for designing
their own unique world of objects.