Pub Date : 2022-04-21DOI: 10.1080/17547075.2022.2062143
Laura Kurtzberg
Published in Design and Culture: The Journal of the Design Studies Forum (Vol. 14, No. 2, 2022)
发表于《设计与文化:设计研究论坛》(Vol. 14, No. 2, 2022)
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Pub Date : 2022-03-08DOI: 10.1080/17547075.2022.2038980
S. Sadler, S. Sadler
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Pub Date : 2022-02-24DOI: 10.1080/17547075.2022.2038977
Arsalan Ul Haq
value in design. Taylor touts examples that recall our humanity and heighten our awareness of everyday objects we take for granted. However, for a book that praises contesting the status-quo, it misses an opportunity to push inclusivity in its curation of work. Of the fifty indexed pieces within Moving Objects, only eight cite non-European artists and thirteen credit women designers. Forty-two percent are credited to designers from the Netherlands, where Taylor conducted his Postdoctoral Research Fellowship. Within this European focus, the book is impressive in its material breadth. From jewelry boxes made of hair to mass-produced plush toys sewn into seats, Moving Objects covers a surprising range of materials and technologies with varied messages and meanings. Examples are primarily product and furniture designs with brief references to graphic design, user experience design, and other fields. Moving Objects is ultimately a case against mindless consumerism. If we were not so influenced by marketability, what would we make? What would we use? Taylor proposes the strong ties between design and consumer capitalism make alternatives hard to imagine. But for designers he sees an opportunity, saying “the making of things to some degree is to make a statement about what should exist in the world” (126). If our emotions project onto our surroundings and into our work as Taylor suggests, Moving Objects provides a robust roadmap for using those emotions to shape – and view – our world more intentionally.
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Pub Date : 2022-02-24DOI: 10.1080/17547075.2022.2038976
Erica Holeman
“Obsolescence and Disposal,” deals with end-of-use. In “Mending or Ending? Consumer Durables, Obsolescence and Practices of Reuse, Repair and Disposal in West Germany (1960s-1980s),” editor Heike Weber explores ideas about “durability” and “planned obsolescence” by looking at West Germany’s bulky waste collection. Finally, in “The Persistence of SS France: Her Unmaking at the Alang Shipbreaking Yard in India,” Ayushi Dhawan follows the trajectory of an ocean cruiser entering different periods of use and struggling to get scrapped. Both sections deal with persistence after obsolescence, but each chapter is distinct. In this distinction and without a general conclusion, the book is, like technology’s persistence beyond end-of-use, provocatively open-ended. Centered around temporalities of technology yet addressing a multitude of histories, the volume will serve a broad readership. It will interest historians of technology, but also designers and engineers, as it offers a much-needed alternative to what the editors call the “traditional innovation-centric research agenda” (10). It will appeal to historians and students of material culture because its temporal perspective can inspire studies of other artefacts. Finally, as it is a patchwork of essays, each contribution will engage its own audience. Krebs and Weber have curated a rich bundle of work focused on the upkeep and “unmaking” of technology: a bricolage of histories of technological persistence. It prompts a distinct approach, so the small focus on reuse and disposal is not so much an afterthought but rather an invitation to build on the work. Bricolage, like repair, has restorative qualities and so does this volume: it inspires new perspectives, provokes necessary discussions, and forms a building block for future work on time and technology.
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Pub Date : 2022-02-23DOI: 10.1080/17547075.2022.2038975
Amelia A. McNamara
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Pub Date : 2022-02-18DOI: 10.1080/17547075.2021.2018539
Myriam D. Diatta, R. Goncalves, L. Grocott
Abstract Beyond the industrial design origins of human-centered design, the empathic frame of design thinking, or the democratic convivial tools of co-design, there are nuanced practice considerations for the inter-relational, social practice of designers working with people. This paper specifically considers the affordances of materiality and the reflexive sense-making of embodiment within the sensorial, performative practice of design. This shared theme is explored through auto-ethnographic writing and a poetic line of inquiry that models a novel method for examining this social practice. Taking a reflective stance, the researchers resist the impulse to tidily package insights from six creative practice vignettes into a toolkit or diagram. Instead, the small moments enacted in the practice snapshots reveal a Family of Sensibilities. The collective set of attributes intentionally present a complicated, messy, interpretation of the familial elements that shape a designer’s material, embodied moves when in conversation with people and place.
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Pub Date : 2022-02-17DOI: 10.1080/17547075.2021.1935556
Ece Canlı
of self-determination. Wilson writes that the democratization of development and democracy is the most profound example of hypocrisy (46). “Art Without Death” interrupts the great number of essays that present historical narratives. It is staged as a conversation between Arseny Zhilyaev and Anton Vidokle, in which they debate the question “Are We Human?” In “The Matter of Scale,” Pelin Tan offers a unique approach, presenting his essay as a sequence of journal entries commenting on the inevitable demise of humanity and life as we know it; a sort of post-apocalyptic reflection on the self and design. Many of the essays encourage readers to unyieldingly interrogate their assumptions about the notion of “self-design,” driving us to question them “again and again, now and tomorrow, so that we might be able to catch a fleeting glimpse of what it might mean to be human” (11). This clever collection offers small capsules of critical reflection that allow for a spectrum of interpretations of the ever-present struggle to define one’s self, purpose, and potential. At the same time, Superhumanity: Design of the Self might have benefited from a framework for analysis, set perhaps in the introduction, which could have presented possible groupings of various essays that complimented one another, or even set essays in contrast for a more interrogative analysis of the content. Without such a framework, the reader is left to make their own way through the collection, thus making the volume potentially difficult to navigate. The essays themselves offer valuable and engaging interdisciplinary perspectives on design and design theory, and could be successfully assigned in a design studio, exposing students to the too-often overlooked failures in design thinking and execution.
民族自决。威尔逊写道，发展和民主的民主化是虚伪的最深刻的例子(46)。《没有死亡的艺术》打断了大量呈现历史叙事的文章。影片以Arseny Zhilyaev和Anton Vidokle之间的对话为背景，他们在对话中讨论了“我们是人类吗?”在《规模的问题》(The Matter of Scale)一书中，谭佩林(Pelin Tan)采用了一种独特的方式，将他的文章呈现为一系列日记条目，评论我们所知的人类和生命不可避免的消亡;一种对自我和设计的后启示录式反思。许多文章鼓励读者不屈不挠地质疑他们对“自我设计”概念的假设，驱使我们“一次又一次地，现在和明天，这样我们也许能够瞥见作为人类可能意味着什么”(11)。这个巧妙的集合提供了批判性反思的小胶囊，允许对永远存在的定义自我，目的和潜力的斗争的一系列解释。与此同时，《超人:自我的设计》可能受益于一个分析框架，可能在引言中设置，它可以展示各种各样的文章的可能分组，这些文章相互称赞，甚至可以将文章设置为对比，以便对内容进行更具疑问性的分析。如果没有这样的框架，读者就只能自己摸索着阅读，这就使得这本书难以驾驭。这些论文本身提供了关于设计和设计理论的有价值的、引人入胜的跨学科视角，可以在设计工作室成功地分配给学生，让他们了解设计思维和执行中经常被忽视的失败。
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Pub Date : 2022-01-20DOI: 10.1080/17547075.2021.2019455
E. Veselova, I. Gaziulusoy
Abstract Addressing the current unsustainability of socio-ecological-technological systems is urgently required. Unsustainability has been associated with the anthropocentric cultures of human societies that focus on their own needs while ignoring and belittling the needs of other species and natural systems. Design, including collaborative and participatory design (C&PD), is one of the multiple ways through which humans build solutions to satisfy their needs and wants in an anthropocentric manner. Through an integrative literature review of C&PD and a bioinclusive ethic (one of the non-anthropocentric frameworks in environmental ethics), this paper – a revised and expanded version of a conference paper previously published in Design Journal (2019) – develops a conceptual framework for bioinclusive C&PD rooted in a non-anthropocentric values base. It outlines twelve key principles for bioinclusive C&PD and proposes six avenues for further research.
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