{"title":"Open Plan: A Design History of the American Office","authors":"Jeremy Myerson","doi":"10.1162/desi_r_00684","DOIUrl":"10.1162/desi_r_00684","url":null,"abstract":"","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 2","pages":"87-88"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47181391","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Katja Thoring;Roland M. Mueller;Pieter Desmet;Petra Badke-Schaub
The theoretical understanding of design knowledge is a crucial concern for research in the design discipline. This article extends the rich existing research on design knowledge by providing a unifying model of design knowledge. The insights are derived from a rigorous review of existing literature. The resulting model presents an original framework of design knowledge that can help practitioners, scholars, and educators from the design discipline to better understand the characteristics of design knowledge and the possibilities for transferring it.
{"title":"Toward a Unified Model of Design Knowledge","authors":"Katja Thoring;Roland M. Mueller;Pieter Desmet;Petra Badke-Schaub","doi":"10.1162/desi_a_00679","DOIUrl":"10.1162/desi_a_00679","url":null,"abstract":"The theoretical understanding of design knowledge is a crucial concern for research in the design discipline. This article extends the rich existing research on design knowledge by providing a unifying model of design knowledge. The insights are derived from a rigorous review of existing literature. The resulting model presents an original framework of design knowledge that can help practitioners, scholars, and educators from the design discipline to better understand the characteristics of design knowledge and the possibilities for transferring it.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 2","pages":"17-32"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48506546","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Books with color illustrations were once rare and costly, but during the nineteenth century advances in color printing technology allowed publishers to include color more frequently. At the same time teachers and government officials attempted to employ graphic displays to facilitate understanding of often abstract or invisible concepts or to show data in a form that could more easily be grasped and retained. The use of color enhanced these endeavors. Dating from 1847 to 1876, the four books discussed here were selected because their authors deliberately chose to replace the written word with color graphics to provide instruction in the sciences and social sciences.
{"title":"Nineteenth Century Color Printing for Visual Instruction","authors":"Ellen Mazur Thomson","doi":"10.1162/desi_a_00682","DOIUrl":"10.1162/desi_a_00682","url":null,"abstract":"Books with color illustrations were once rare and costly, but during the nineteenth century advances in color printing technology allowed publishers to include color more frequently. At the same time teachers and government officials attempted to employ graphic displays to facilitate understanding of often abstract or invisible concepts or to show data in a form that could more easily be grasped and retained. The use of color enhanced these endeavors. Dating from 1847 to 1876, the four books discussed here were selected because their authors deliberately chose to replace the written word with color graphics to provide instruction in the sciences and social sciences.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 2","pages":"64-79"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43431883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Nature's welfare is intertwined with humankinds' welfare, requiring mass citizen-led action. According to wildlife advocate David Attenborough, “we share responsibility for the future of life on earth, [we all have] the power to change.” To this end, the My Naturewatch project (MNW) follows research-through-design approaches: It deploys do-it-yourself (DIY) devices to support new methods of engagement between nature, technology, and humans. The MNW cameras help participants to capture images of their “back garden” wildlife. Through the MNW project, we (the authors) position cameras as agents, enabling “designed engagement(s)” that engender agency, serendipity, and impact. This article recounts a training scheme used in the MNW project to provide nature organizations with methods to foster public engagement through DIY, accessible digital technologies. The scheme encourages appropriation that suits contextual, environmental, and organizational requirements. The authors unpack the experiences and issues realized (through practice) by 14 nationally acclaimed wildlife and conservation organizations, independently running workshops using the MNW project tools. Our findings report the issues and opportunities of designed community engagements for practitioners engaged with defining more sustainable practices.
{"title":"Fostering Natural World Engagements: Design Lessons and Issues from the My Naturewatch Training Program","authors":"Robert Phillips;Amina Abbas-Nazari","doi":"10.1162/desi_a_00681","DOIUrl":"10.1162/desi_a_00681","url":null,"abstract":"Nature's welfare is intertwined with humankinds' welfare, requiring mass citizen-led action. According to wildlife advocate David Attenborough, “we share responsibility for the future of life on earth, [we all have] the power to change.” To this end, the My Naturewatch project (MNW) follows research-through-design approaches: It deploys do-it-yourself (DIY) devices to support new methods of engagement between nature, technology, and humans. The MNW cameras help participants to capture images of their “back garden” wildlife. Through the MNW project, we (the authors) position cameras as agents, enabling “designed engagement(s)” that engender agency, serendipity, and impact. This article recounts a training scheme used in the MNW project to provide nature organizations with methods to foster public engagement through DIY, accessible digital technologies. The scheme encourages appropriation that suits contextual, environmental, and organizational requirements. The authors unpack the experiences and issues realized (through practice) by 14 nationally acclaimed wildlife and conservation organizations, independently running workshops using the MNW project tools. Our findings report the issues and opportunities of designed community engagements for practitioners engaged with defining more sustainable practices.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 2","pages":"47-63"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42095346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article contributes to methodological studies of constructive design research by explicating its underlying epistemological foundations. At the heart of this article is the notion of drifting, defined as those actions that move design from its original objective or question to sometimes unanticipated results. The article explicates four traditions of knowledge production as derived from a corpus based on PhD theses. These traditions relate knowledge production to methods, research programs, design experience, and to a dialectic between researchers and user communities. As a result, they form epistemological traditions.
{"title":"How Constructive Design Researchers Drift: Four Epistemologies","authors":"Peter Gall Krogh;Ilpo Koskinen","doi":"10.1162/desi_a_00680","DOIUrl":"10.1162/desi_a_00680","url":null,"abstract":"This article contributes to methodological studies of constructive design research by explicating its underlying epistemological foundations. At the heart of this article is the notion of drifting, defined as those actions that move design from its original objective or question to sometimes unanticipated results. The article explicates four traditions of knowledge production as derived from a corpus based on PhD theses. These traditions relate knowledge production to methods, research programs, design experience, and to a dialectic between researchers and user communities. As a result, they form epistemological traditions.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 2","pages":"33-46"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48719073","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1017/S014555320002174X
B. Brown, R. Buchanan, Carl Di Salvo, Dennis P. Doordan, Kipum Lee, R. Mazé, T. Triggs
This issue brings together economists, sociologists, and historians in the study of migration and labor markets. The editors of the journal have turned the authors into unwitting collaborators, and in that sense these articles stand on their own. But one of the pleasures of being involved in the editorial process of an interdisciplinary journal is the opportunity it provides for drawing meaningful connections in the scholarship of diverse fields. We linked these separate contributions because together they help reconstruct the social and economic systems that channeled human migration. Each author makes important contributions to his respective field. Combined, their efforts illustrate what can be gained through the interdisciplinary nature of social science methodology.
{"title":"Introduction","authors":"B. Brown, R. Buchanan, Carl Di Salvo, Dennis P. Doordan, Kipum Lee, R. Mazé, T. Triggs","doi":"10.1017/S014555320002174X","DOIUrl":"https://doi.org/10.1017/S014555320002174X","url":null,"abstract":"This issue brings together economists, sociologists, and historians in the study of migration and labor markets. The editors of the journal have turned the authors into unwitting collaborators, and in that sense these articles stand on their own. But one of the pleasures of being involved in the editorial process of an interdisciplinary journal is the opportunity it provides for drawing meaningful connections in the scholarship of diverse fields. We linked these separate contributions because together they help reconstruct the social and economic systems that channeled human migration. Each author makes important contributions to his respective field. Combined, their efforts illustrate what can be gained through the interdisciplinary nature of social science methodology.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 1","pages":"1-2"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S014555320002174X","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44201275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Otherworld Art Gallery 0.1.2 was an exhibition of artworks held in April 2021 by Svima,1 an architecture and art studio in Toronto. Digitally situated on Mars, the exhibit was displayed online in four 3-D inflatable structures on extraterrestrial grounds. It drew on themes of biomorphism, avant-garde architecture, the relationship between organisms and the environment, astrobiology, and ecological memory. The gallery was launched with a party in an online social platform that allowed remote participants, who were encouraged to browse the artworks by clicking through 360-degree scenes, to gather in a spatial virtual environment where they could experience the artworks together. The selected artworks shed new light on familiar forms permitted by earth’s atmosphere; they are presented in situ as artifacts and memories, displaced from worldly interiors and pandemic realities. Some pieces explore an apocalyptic vision in which livable surfaces require protection from a hostile atmosphere, forcing superstructures to create their own separated macroclimates to survive. A few hand-drawn works deconstruct the invisible lattice that exists behind the smooth shapes rendered in the pieces shown on screen: the triangular polygon mesh, one of the oldest and fastest forms of geometric representation in computer graphics. Several works explore memories of earth’s islands, such as Vancouver and Hong Kong, using surrealist language to contemplate the detritus of human production and industrial remains. Presented together, the artworks culminate in a question: In a post-atmosphere world, what would endure?
Otherworld Art Gallery 0.1.2是多伦多一家建筑和艺术工作室Svima于2021年4月举办的艺术品展览。该展览位于火星上，以四个三维充气结构的形式在线展示。它借鉴了生物形态、前卫建筑、生物与环境之间的关系、天体生物学和生态记忆等主题。该画廊在一个在线社交平台上举办了一场派对，鼓励远程参与者通过点击360度场景来浏览艺术品，并聚集在一个空间虚拟环境中，在那里他们可以一起体验艺术品。选定的艺术品为地球大气层所允许的熟悉形式提供了新的线索；它们以文物和记忆的形式呈现在现场，脱离了世俗的内部和疫情的现实。一些作品探索了一种世界末日的景象，在这种景象中，宜居的表面需要保护，免受敌对大气的影响，迫使上层建筑创造自己独立的大气候来生存。一些手绘作品解构了屏幕上呈现的平滑形状背后的隐形晶格：三角形多边形网格，这是计算机图形学中最古老、最快的几何表示形式之一。一些作品探索了温哥华和香港等地球岛屿的记忆，使用超现实主义语言来思考人类生产和工业遗迹的碎屑。这些艺术品共同呈现，最终提出了一个问题：在后氛围的世界里，什么会持续下去？
{"title":"Post-Atmosphere","authors":"Anamarija Korolj;Leon Lai","doi":"10.1162/desi_a_00683","DOIUrl":"10.1162/desi_a_00683","url":null,"abstract":"The Otherworld Art Gallery 0.1.2 was an exhibition of artworks held in April 2021 by Svima,1 an architecture and art studio in Toronto. Digitally situated on Mars, the exhibit was displayed online in four 3-D inflatable structures on extraterrestrial grounds. It drew on themes of biomorphism, avant-garde architecture, the relationship between organisms and the environment, astrobiology, and ecological memory. The gallery was launched with a party in an online social platform that allowed remote participants, who were encouraged to browse the artworks by clicking through 360-degree scenes, to gather in a spatial virtual environment where they could experience the artworks together. The selected artworks shed new light on familiar forms permitted by earth’s atmosphere; they are presented in situ as artifacts and memories, displaced from worldly interiors and pandemic realities. Some pieces explore an apocalyptic vision in which livable surfaces require protection from a hostile atmosphere, forcing superstructures to create their own separated macroclimates to survive. A few hand-drawn works deconstruct the invisible lattice that exists behind the smooth shapes rendered in the pieces shown on screen: the triangular polygon mesh, one of the oldest and fastest forms of geometric representation in computer graphics. Several works explore memories of earth’s islands, such as Vancouver and Hong Kong, using surrealist language to contemplate the detritus of human production and industrial remains. Presented together, the artworks culminate in a question: In a post-atmosphere world, what would endure?","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 2","pages":"80-86"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45278088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article unfolds how the predominant binary view towards urban design offers an alternative tripartite interpretation. This less orthodox but more realistic probing of the field's methods of praxis (hybridity, spontaneity, and continuity) “dissolves” its dominant formal-informal binary categorizations. Hybridity represents the synergistic city-nature relationship based on visually persuasive methods of design by mimicking natural processes. Spontaneity captures how local creative impromptu small-scale DIY design intervention efforts fill possible gaps in formal top-down urban design projects. Continuity highlights the complementary (rather than polarized) relationship between formal and informal urbanism.
{"title":"Consilience in Urban Design (?): The Conceptual Convergence of Strange Bedfellows","authors":"Mahyar Arefi","doi":"10.1162/desi_a_00678","DOIUrl":"10.1162/desi_a_00678","url":null,"abstract":"This article unfolds how the predominant binary view towards urban design offers an alternative tripartite interpretation. This less orthodox but more realistic probing of the field's methods of praxis (hybridity, spontaneity, and continuity) “dissolves” its dominant formal-informal binary categorizations. Hybridity represents the synergistic city-nature relationship based on visually persuasive methods of design by mimicking natural processes. Spontaneity captures how local creative impromptu small-scale DIY design intervention efforts fill possible gaps in formal top-down urban design projects. Continuity highlights the complementary (rather than polarized) relationship between formal and informal urbanism.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 2","pages":"3-16"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48153093","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article critically reviews how we think about design in technology and service innovation. Human-centered design has emerged in this science-driven field as a way to include the interests of humans and their needs in production processes. As such, design has a considerable effect on the development of new technologies and services. Making visible the agency of design in these practices thus is of immense importance. A gap remains in the ability of current concepts of design to visualize and conceptualize design agency. Therefore, drawing on concepts of materiality in design and practice, this article proposes a framework that makes design agency visible.
{"title":"Materializing the Agency of Design in Innovation Practices","authors":"Ruth M. Neubauer","doi":"10.1162/desi_a_00672","DOIUrl":"10.1162/desi_a_00672","url":null,"abstract":"Abstract This article critically reviews how we think about design in technology and service innovation. Human-centered design has emerged in this science-driven field as a way to include the interests of humans and their needs in production processes. As such, design has a considerable effect on the development of new technologies and services. Making visible the agency of design in these practices thus is of immense importance. A gap remains in the ability of current concepts of design to visualize and conceptualize design agency. Therefore, drawing on concepts of materiality in design and practice, this article proposes a framework that makes design agency visible.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 1","pages":"81-91"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43171852","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：