롤랑 바르트의 관점에서 업사이클 디자인의 의미화에 대한 연구 -고철의 업사이클 디자인에 관한 시각적 담론 형성-

(Background and Purpose) As global problems of waste accumulation and resource loss intensify, upcycled design has drawn attention as an alternative within sustainable design. Upcycling contrasts with downcycling, in which material quality inevitably deteriorates through mechanical or chemical processing. Although upcycling is being attempted across diverse product categories, its scope of utilization remains limited. Consumers are still known to experience aesthetic discomfort and rejection toward upcycled products, often perceiving them as items discarded after someone else used them, which can be accompanied by concerns about cleanliness and uncertain prior use. In response, this study examines how the visual form of upcycled design is signified and extended into mythological discourse, and how such discourse differs depending on whether an item’s origin and context are made visible. (Method) Cases were collected from online platforms that sell upcycled products. The analysis proceeded through four stages: visual form analysis (form, material, color), semiotic interpretation (denotation and connotation), myth derivation, and discourse-code systematization. Following Roland Barthes’ theory, products were classified into those with clearly identifiable origins and contexts versus those with ambiguous origins and contexts. The two groups were then compared to examine how formal characteristics and provenance cues contribute to the formation of mythic meanings and the organization of recurring discourses. (Results) Products with clearly identifiable origins and past were received not merely as recycled objects but as cultural signs carrying historicity and symbolism, thereby forming three discourses simultaneously: Heritage, Nostalgia, and Eco–Craft. In these cases, legible provenance supported Heritage narratives of continuity and inheritance. Nostalgia was strengthened by visual cues that evoke memory and affect, while Eco–Craft was reinforced by observable traces of reworking and craftsmanship that communicate environmental value and material transformation. In contrast, products with ambiguous origins tended not to generate a Heritage discourse; instead, they were largely confined to Nostalgia and Eco–Craft discourses rooted in formal transformation and the aesthetics of aging. Without clear sources and contexts, it became difficult to construct Heritage narratives, and meanings were more likely to rely on surface-level cues such as patina, wear, and stylistic reinterpretation. (Conclusions) This study shows that upcycled design can function as a symbolic sign that carries memories and stories of the past, rather than merely as a product made from recycled materials. It further suggests that the visibility of an item’s past sources and contexts is a key factor that shapes consumer discourse formation and shifts in perception. Accordingly, the strategic value of upcycled products can be amplified not only through formal creativity but also through visual devices that make historicity and heritage legible. These findings may contribute to broader social acceptance of upcycled design and to discussions on assigning cultural meaning to upcycling practices.