任何比較都必須在相同條件的標準下，才能最可能的得到合理的答案。
設計之最基本目的是在改善優化人們的生活，更深入的設計還能引起人們心中情感的共鳴，設計如果加入情感因數，就很難從作品斷定對錯、好壞甚至論成敗，有些作品呈現出來的，不是最好而有效率的解決了使.用者面臨的問題，但卻體現連結使用者內心的情緒波動，產生共鳴，這樣的共鳴能引起人心中的滿足、安定、幸福感，這幾種感覺是可以取代那份設計的不完美與蝦疵，對使用者也更為重要。
形式隨情感而生，而非一般的形式隨機能而生。是本篇論文實踐、驗證的主軸。從人的五種感知延伸起始開始，在設計過程體現情感這種無形情緒的表現。對設計者而言藉由實體的物體組構出情緒，很籠統的發展慨念…很難言語表達。
如果無法言語的表達，那就由面對作品的體會來溝通，實際投入使用者環境、面對使用者是最直接的驗證方式，但其成本相對高不可攀，不是一般研究生可以負擔，相對可以投入競賽，藉由評審的評斷驗證，展覽空間的展示來與使用者面對面的溝通、討論，達到目的。
本論文紀錄整個設計運作過程，期望在這些過程找到情感設計的必要步驟、或是方法。
情感設計與生活經驗、歷練有絕對的關係。生命過程中給我們帶來的痕跡，一定是人生活在這世界的目的，留不下也帶不走，所以生命是不斷在循環，留不下的，就讓後人自己去與生命產生的際遇碰撞，帶不走的也成為世界的歷史痕跡，存留在時空背景的演化中，或許可以成為後人的養分。

Any comparison has to be executed under the same standard and condition in order to attain the most reasonable results. The essential purpose of design is to improve the life of human beings, and a more profound design can even strike a chord emotionally. A design work combined with affective factor is not easy to be judged as right, good, or successful. Some works can’t resolve the problems which users face effectively, but instead they reveal the emotional undulation inside the users. This echo triggers the satisfaction, stableness and sense of well-being and therefore it can replace the imperfectness and the flaws, which is even important to the users.
“Form follows emotion”, but not “form follows function”, is the main stream of this thesis in its practice and verification. Design starts from five senses, and extends and ends in the intangibly emotional display. It is hard to convey verbally the emotional parts through substantial objects or conventional concept development. While it’s difficult to convey verbally, we communicate by means of experiencing the work. Being engaged practically with the user environment and facing the users are the most direct way to verify the assumption, but it is not affordable to general graduate students. It is more reasonable to attain and verify this purpose and communicate and discuss face to face with the users by participating in the competition and getting the judgments from the critics and the exhibition of the work.
The research records the whole process of operation of the design, hoping to find the necessary procedures or methods of emotional design.
Emotional design is strongly related to life experiences. The imprints from life processes are the results of living in the world, and they are parts of the incessant cycle and cannot be left or taken away. They encounter with the fate of the descendants, and become a historical mark which nurtures the offspring.

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