Pub Date : 2021-11-08DOI: 10.1080/17547075.2021.1996934
Saraleah Fordyce
Design Struggles critically assesses the complicity of design in creating, perpetuating, and reinforcing social, political, and environmental problems — both today and in the past. The book proposes to brush the discipline against the grain, by problematizing Western notions of design, fostering situated, decolonial, and queer-feminist modes of disciplinary self-critique. In order to reimagine design as an unbound, ambiguous, and unfinished practice, this publication gathers a diverse array of perspectives, ranging from social and cultural theory, design history, design activism, sociology, and anthropology, to critical and political studies, with a focus on looking at design through the intersections of gender, race, ethnicity, culture, class, and beyond. It combines robust scholarly insights with engaging and accessible modes of conveyance and storytelling by bringing together an urgent and expansive array of voices and views from those engaged in struggles with, against, or around the design field.
{"title":"Design Struggles: Intersecting Histories, Pedagogies, and Perspectives","authors":"Saraleah Fordyce","doi":"10.1080/17547075.2021.1996934","DOIUrl":"https://doi.org/10.1080/17547075.2021.1996934","url":null,"abstract":"Design Struggles critically assesses the complicity of design in creating, perpetuating, and reinforcing social, political, and environmental problems — both today and in the past. The book proposes to brush the discipline against the grain, by problematizing Western notions of design, fostering situated, decolonial, and queer-feminist modes of disciplinary self-critique. In order to reimagine design as an unbound, ambiguous, and unfinished practice, this publication gathers a diverse array of perspectives, ranging from social and cultural theory, design history, design activism, sociology, and anthropology, to critical and political studies, with a focus on looking at design through the intersections of gender, race, ethnicity, culture, class, and beyond. It combines robust scholarly insights with engaging and accessible modes of conveyance and storytelling by bringing together an urgent and expansive array of voices and views from those engaged in struggles with, against, or around the design field.","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"14 1","pages":"240 - 243"},"PeriodicalIF":0.7,"publicationDate":"2021-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46717621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-08DOI: 10.1080/17547075.2021.1996828
Dan Vlahos
office and the real organizations shaped by an exclusionary, discriminatory, and highly secretive corporate culture” (166). In the past fifty years, designs for open offices have improved in terms of standards, accessibility, codes, and guidelines to keep office workers safe, productive, and well; but Kaufmann-Buhler is right in her insistence that organizations have a long way to go in appreciating individuality and accommodating diverse needs. Open plan offices can improve only if their creators acknowledge the real problems of discrimination and inequality that are embedded in organizational culture and reinforced and reproduced through the iterations of office design. Design history will benefit from more histories that, like this one, acknowledge peoples’ complex lived and sometimes fraught experiences with iconic, celebrated designs.
{"title":"Design in Crisis: New Worlds, Philosophies, and Perspectives","authors":"Dan Vlahos","doi":"10.1080/17547075.2021.1996828","DOIUrl":"https://doi.org/10.1080/17547075.2021.1996828","url":null,"abstract":"office and the real organizations shaped by an exclusionary, discriminatory, and highly secretive corporate culture” (166). In the past fifty years, designs for open offices have improved in terms of standards, accessibility, codes, and guidelines to keep office workers safe, productive, and well; but Kaufmann-Buhler is right in her insistence that organizations have a long way to go in appreciating individuality and accommodating diverse needs. Open plan offices can improve only if their creators acknowledge the real problems of discrimination and inequality that are embedded in organizational culture and reinforced and reproduced through the iterations of office design. Design history will benefit from more histories that, like this one, acknowledge peoples’ complex lived and sometimes fraught experiences with iconic, celebrated designs.","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"14 1","pages":"237 - 240"},"PeriodicalIF":0.7,"publicationDate":"2021-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60318066","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-27DOI: 10.1080/17547075.2021.1975965
M. Bohannon
ation to reflect on Jacqueline’s late-1940s upholstery designs for Jacques’ furniture, when he had to restrain opulence and conceive more economical designs for the living spaces and furnishings of Britain’s middle class, as well as for collective forms of living. This chapter also addresses Jacques’ diminishing creative opportunities in the 1950s and his progressive mental health challenges. Prokop must be credited for resisting the temptation to establish causality between the two. Jacqueline’s story continues after Jacques’ sudden death: she worked for another twenty-five years and the last chapter also describes her achievements in the designs for abstract textiles and applied textiles for the interiors of ships, trains, and planes. Prokop has gathered an impressive amount of information and presents a thrilling story of the partially forgotten Groags. (A complete list of the Groags’ projects and an accessible bibliography is also useful for resuscitating the pair’s design careers.) Her emphasis on Jacques’ life and career may owe to a lack of historical and archival documents relating to Jacqueline, but still the book might have asked more questions associated with feminist criticism. For example, what obstacles did Jacqueline have to overcome in her career that Jacques did not? How did the imperative of unpaid housework and caretaking in the broader sense, stereotypically assigned to women, influence her career? Attending to these questions might have opened up space for further consideration of the relationship between the couple’s work. For example, considering what collaboration looked like in the day-to-day and how artistic exchange could or did take place might have helped us understand even more about the differences in their bodies of work as well as what connects it, beyond their shared last name.
{"title":"Design, Nature, and Revolution: Toward a Critical Ecology","authors":"M. Bohannon","doi":"10.1080/17547075.2021.1975965","DOIUrl":"https://doi.org/10.1080/17547075.2021.1975965","url":null,"abstract":"ation to reflect on Jacqueline’s late-1940s upholstery designs for Jacques’ furniture, when he had to restrain opulence and conceive more economical designs for the living spaces and furnishings of Britain’s middle class, as well as for collective forms of living. This chapter also addresses Jacques’ diminishing creative opportunities in the 1950s and his progressive mental health challenges. Prokop must be credited for resisting the temptation to establish causality between the two. Jacqueline’s story continues after Jacques’ sudden death: she worked for another twenty-five years and the last chapter also describes her achievements in the designs for abstract textiles and applied textiles for the interiors of ships, trains, and planes. Prokop has gathered an impressive amount of information and presents a thrilling story of the partially forgotten Groags. (A complete list of the Groags’ projects and an accessible bibliography is also useful for resuscitating the pair’s design careers.) Her emphasis on Jacques’ life and career may owe to a lack of historical and archival documents relating to Jacqueline, but still the book might have asked more questions associated with feminist criticism. For example, what obstacles did Jacqueline have to overcome in her career that Jacques did not? How did the imperative of unpaid housework and caretaking in the broader sense, stereotypically assigned to women, influence her career? Attending to these questions might have opened up space for further consideration of the relationship between the couple’s work. For example, considering what collaboration looked like in the day-to-day and how artistic exchange could or did take place might have helped us understand even more about the differences in their bodies of work as well as what connects it, beyond their shared last name.","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"14 1","pages":"113 - 115"},"PeriodicalIF":0.7,"publicationDate":"2021-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48059550","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-23DOI: 10.1080/17547075.2021.1975933
Sydney Simon
nomic separation of cognitive labor (often associated with design) from craft labor (often associated with nondesign)” (102). In one instance, Rosner partnered with a local Seattle ceramic studio in which she and a cross-disciplinary team of design technologists, ceramic artists, and photographers built a unique machine called “Arc.” This machine enabled ceramic art to be created on a potter’s wheel. Instead of being created by a ceramic artist, however, the piece was formed through a 3D printing process combined with gestures and sounds recorded in the studio. The unique vessel that was formed could never be reproduced again and challenged the idea of universality of ceramic fabrication tools. The examples in this section help the reader make connections to the book’s subtitle – “reworking the methods and margins of design” – they illustrate new possibilities in thinking about distinctions and connections between design, craft, and technology. Critical Fabulations was written well before the pandemic, but many of the overarching concepts in the book seem particularly relevant to our current situation, with its demands to rethink traditional systems and formulate design research and practice in new ways. In the introduction, Rosner asks, “What would it take to understand design as a different kind of project; one that is both activist and investigative, personal and culturally situated, responsive and responsible?” (11). This may be a good question to help frame our future.
{"title":"Scandinavian Design and the United States, 1890–1980","authors":"Sydney Simon","doi":"10.1080/17547075.2021.1975933","DOIUrl":"https://doi.org/10.1080/17547075.2021.1975933","url":null,"abstract":"nomic separation of cognitive labor (often associated with design) from craft labor (often associated with nondesign)” (102). In one instance, Rosner partnered with a local Seattle ceramic studio in which she and a cross-disciplinary team of design technologists, ceramic artists, and photographers built a unique machine called “Arc.” This machine enabled ceramic art to be created on a potter’s wheel. Instead of being created by a ceramic artist, however, the piece was formed through a 3D printing process combined with gestures and sounds recorded in the studio. The unique vessel that was formed could never be reproduced again and challenged the idea of universality of ceramic fabrication tools. The examples in this section help the reader make connections to the book’s subtitle – “reworking the methods and margins of design” – they illustrate new possibilities in thinking about distinctions and connections between design, craft, and technology. Critical Fabulations was written well before the pandemic, but many of the overarching concepts in the book seem particularly relevant to our current situation, with its demands to rethink traditional systems and formulate design research and practice in new ways. In the introduction, Rosner asks, “What would it take to understand design as a different kind of project; one that is both activist and investigative, personal and culturally situated, responsive and responsible?” (11). This may be a good question to help frame our future.","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"14 1","pages":"104 - 107"},"PeriodicalIF":0.7,"publicationDate":"2021-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47310949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-23DOI: 10.1080/17547075.2021.1975964
Ladislav Jackson
Marres, Guggenheim, and Wilkie 2018). In fact, as a reader, I sensed a wealth of material-semiotic creativity in how the contributions came to be – in the dissent being discussed and in how the contributors learned by engaging with it as researchers, participants, interviewers, sympathetic observers, and so on. This kind of multimodal learning is inherent to design and design culture in general. Also, affect and the human body – the site of so much politics – are absolutely at the heart of what design does. Further highlighting them could foster a more explicit embrace of alternative ways of engaging with and learning about the world, and even bolder uses of the intellectual resources usually on offer wherever political dissent meets the material. Put differently, design studies could be contributing to, rather than merely explaining, the adventures in “risky” or “inventive” methods that pepper the pages of Design and Political Dissent. Although an attentiveness to the nonverbal is indeed there in many of the book’s chapters, future work might develop it further and make it even more explicit by developing a language to verbalize it. Such a venture would help develop research and practice in design and dissent across many disciplines and fields beyond design studies.
Marres, Guggenheim, and Wilkie, 2018)。事实上，作为一名读者，我在文章的形成过程中感受到丰富的物质符号学创造力——在讨论的不同意见中，在作为研究人员、参与者、采访者、同情的观察者等参与其中的过程中。这种多模态学习是设计和设计文化所固有的。此外，情感和人体——如此多政治的场所——绝对是设计的核心。进一步强调它们可以促进更明确地接受参与和了解世界的其他方式，甚至更大胆地使用通常在政治异议遇到材料时提供的智力资源。换句话说，设计研究可以对《设计与政治异议》中充斥的“冒险”或“创造性”方法的冒险做出贡献，而不仅仅是解释。尽管这本书的许多章节中确实存在对非语言的关注，但未来的工作可能会进一步发展它，并通过开发一种语言来表达它，使其更加明确。这样的冒险将有助于在设计研究之外的许多学科和领域中发展设计和异议的研究和实践。
{"title":"Jacques and Jacqueline Groag, Architect and Designer: Two Hidden Figures of the Viennese Modern Movement","authors":"Ladislav Jackson","doi":"10.1080/17547075.2021.1975964","DOIUrl":"https://doi.org/10.1080/17547075.2021.1975964","url":null,"abstract":"Marres, Guggenheim, and Wilkie 2018). In fact, as a reader, I sensed a wealth of material-semiotic creativity in how the contributions came to be – in the dissent being discussed and in how the contributors learned by engaging with it as researchers, participants, interviewers, sympathetic observers, and so on. This kind of multimodal learning is inherent to design and design culture in general. Also, affect and the human body – the site of so much politics – are absolutely at the heart of what design does. Further highlighting them could foster a more explicit embrace of alternative ways of engaging with and learning about the world, and even bolder uses of the intellectual resources usually on offer wherever political dissent meets the material. Put differently, design studies could be contributing to, rather than merely explaining, the adventures in “risky” or “inventive” methods that pepper the pages of Design and Political Dissent. Although an attentiveness to the nonverbal is indeed there in many of the book’s chapters, future work might develop it further and make it even more explicit by developing a language to verbalize it. Such a venture would help develop research and practice in design and dissent across many disciplines and fields beyond design studies.","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"14 1","pages":"111 - 113"},"PeriodicalIF":0.7,"publicationDate":"2021-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47103506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-16DOI: 10.1080/17547075.2021.1966732
Bilgen Tuncer Manzakoğlu
Abstract According to practice theory, practices or “doings” that use designed products play a significant role in shaping daily life. Practice theory considers the workings of the dynamic two-way relationships between social structures and human agency. Accordingly, users’ routinized practices constitute a social structure that is commonly characterized by three elements: materials, such as tangible physical things, artifacts, and infrastructures; competencies, which include the know-how and “doing” of practice; and meanings, which encompass symbolic notions and emotions that are attached to the practices or artifacts. Adopting a practice theory approach, my article focuses on user practices around wringer-washers in Turkey, including materials, uses, meanings, and re-uses in the daily lives of Turkish women and families. Historical case studies of laundry practices with wringer-washers explicitly indicate how and under what circumstances user practices can emerge, endure, evolve, and transform into other practices. Prioritizing the involvement of designers, producers, and users in the coproduction of practice processes, I argue in this article that new designs and design innovations are inextricably linked with the user practices that they engender.
{"title":"Practice Theory in Industrial Design and Innovation: Materials, Meanings, and Competencies of Electric Wringer-Washers in Turkey from 1950 to the 2000s","authors":"Bilgen Tuncer Manzakoğlu","doi":"10.1080/17547075.2021.1966732","DOIUrl":"https://doi.org/10.1080/17547075.2021.1966732","url":null,"abstract":"Abstract According to practice theory, practices or “doings” that use designed products play a significant role in shaping daily life. Practice theory considers the workings of the dynamic two-way relationships between social structures and human agency. Accordingly, users’ routinized practices constitute a social structure that is commonly characterized by three elements: materials, such as tangible physical things, artifacts, and infrastructures; competencies, which include the know-how and “doing” of practice; and meanings, which encompass symbolic notions and emotions that are attached to the practices or artifacts. Adopting a practice theory approach, my article focuses on user practices around wringer-washers in Turkey, including materials, uses, meanings, and re-uses in the daily lives of Turkish women and families. Historical case studies of laundry practices with wringer-washers explicitly indicate how and under what circumstances user practices can emerge, endure, evolve, and transform into other practices. Prioritizing the involvement of designers, producers, and users in the coproduction of practice processes, I argue in this article that new designs and design innovations are inextricably linked with the user practices that they engender.","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"14 1","pages":"69 - 91"},"PeriodicalIF":0.7,"publicationDate":"2021-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60318017","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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