In this article, I examine the foundations of design knowledge and how they have been disrupted as the design discipline moves progressively away from industrial production. I consider design knowledge as a collection of different cognitive processes for developing artifacts for the human-made world. Adopting David Kolb's (1984, p.38) definition of learning as “the process whereby knowledge is created through the transformation of experience,” I discuss the change in design knowledge by examining how the characteristics of designed items have changed. Building on theories by Neri Oxman and Richard Buchanan, I identify relevant areas of design practice in which creativity is breaking free from disciplinary silos to flow between physical, digital, metaphysical, and biological layers. I then propose an updated map of the orders of design as a thinking tool and compass. I read the evolutions of design as it enters the Fifth Order of concerns, characterized by the centrality of data both as input and as output to a design process. Today, design deals with relationships and perceptions; it dialogues with people and all species ranging from machines to micro-organisms, all of which actively participate in reaching objectives. Here, design creates conversations to achieve several goals, including engagement, discovery, and decision making. Finally, I propose a shift in the traditional principles of designing, moving away from the idea of perfect solutions and toward learning systems that are good enough for now.
{"title":"New Design Knowledge and the Fifth Order of Design","authors":"Marzia Mortati","doi":"10.1162/desi_a_00695","DOIUrl":"10.1162/desi_a_00695","url":null,"abstract":"In this article, I examine the foundations of design knowledge and how they have been disrupted as the design discipline moves progressively away from industrial production. I consider design knowledge as a collection of different cognitive processes for developing artifacts for the human-made world. Adopting David Kolb's (1984, p.38) definition of learning as “the process whereby knowledge is created through the transformation of experience,” I discuss the change in design knowledge by examining how the characteristics of designed items have changed. Building on theories by Neri Oxman and Richard Buchanan, I identify relevant areas of design practice in which creativity is breaking free from disciplinary silos to flow between physical, digital, metaphysical, and biological layers. I then propose an updated map of the orders of design as a thinking tool and compass. I read the evolutions of design as it enters the Fifth Order of concerns, characterized by the centrality of data both as input and as output to a design process. Today, design deals with relationships and perceptions; it dialogues with people and all species ranging from machines to micro-organisms, all of which actively participate in reaching objectives. Here, design creates conversations to achieve several goals, including engagement, discovery, and decision making. Finally, I propose a shift in the traditional principles of designing, moving away from the idea of perfect solutions and toward learning systems that are good enough for now.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 4","pages":"21-34"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://ieeexplore.ieee.org/iel7/6720221/9931033/09931085.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47798800","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article we demonstrate that and why Aristotle's four causes are essential for a scientific articulation of designerly knowledge. We show that properly understood, Aristotle's notion of a cause, including the final cause, is not in conflict with modern science. Rather, when it comes to understanding living beings as such, all of the four Aristotelian causes are still crucial. We argue that this implies that design research, too, must appeal to the four causes, because artifacts must be understood in terms of the role they play in the life of living beings.
{"title":"The Significance of Aristotle's Four Causes in Design Research","authors":"Boris Hennig;Matthias Rauterberg","doi":"10.1162/desi_a_00696","DOIUrl":"10.1162/desi_a_00696","url":null,"abstract":"In this article we demonstrate that and why Aristotle's four causes are essential for a scientific articulation of designerly knowledge. We show that properly understood, Aristotle's notion of a cause, including the final cause, is not in conflict with modern science. Rather, when it comes to understanding living beings as such, all of the four Aristotelian causes are still crucial. We argue that this implies that design research, too, must appeal to the four causes, because artifacts must be understood in terms of the role they play in the life of living beings.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 4","pages":"35-43"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49352822","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 US Bureau of Labor Statistics (2020)1 records 190 “Patternmakers (Wood)” and 2,400 “Patternmakers (Plastics and Metal)” in the whole country. The Australian Bureau of Statistics (2016)2 documents 270 engineering patternmakers, and according to Jesse Adams Stein’s observations, this number may diminish to 180 by the time the 2021 census is published (15). Should the design profession care about one of the smallest occupational groups in manufacturing countries around the world? Indeed, it should. Industrial Craft in Australia joins the growing critical discourse that questions—and illuminates the negative consequences of—the designer’s hegemonic place in design. Stein’s book is based on research and recorded interviews. Topics include class and gender, the demise of patternmaking as a result of advancing technology, and the consequences for individual makers. In line with the argument that patternmaking is a craft, Stein documents the creative practices that existed alongside or subsequent to a career in patternmaking. Photographs assist the narrative, and the writing style is eminently accessible. Stein defines industrial craft as “the confluence of refined manual skill and specialist production knowledge in manufacturing processes,” including “manual processes undertaken in the pre-production stage of manufacturing, and in the hand-finishing stages, after machine production” (2). These skills are normally learned over four years of indentured apprenticeship in an industrial manufacturing facility that specializes in trades, such as fitting and turning, toolmaking, or patternmaking. In addition, the apprentice attends classes in technical education. In the heyday of twentieth-century manufacturing in the West, industrial patternmakers were dedicated to hand-making forms for gears, wheels, bearings, and so on that were molded or cast, in sizes that ranged from railway and mining equipment parts to buckles and bobbins. Traditionally the forms were made from timber, requiring patternmakers to develop woodworking skills that enabled precise depiction of minute detail. It was necessary to have knowledge of timber species along with technical drawing, metallurgy and metal contraction, toolmaking, problem solving, visualization, and production planning. Timber forms were used during the burgeoning of plastic products, some of which were small and finicky, for example, pasta or confectionary molds. As the twentieth century progressed, new materials, like epoxy resin, silicone, fiberglass, polystyrene, and aluminum were added to the patternmaker’s resources. This brief description of patternmaking, elucidated in the book’s initial chapters, is merely didactic, because Stein points out that her book is about pattern makers: “their training, the role of class and gender as a structuring force in their working lives, their creative practices and their evolving relationship to technology and the labour market” (3). Her methodology (biographical oral histo
美国劳工统计局（2020）1记录了全国190名“Patternmakers（Wood）”和2400名“Pattern makers（Plastics and Metal）”。澳大利亚统计局（2016）2记录了270名工程制图师，根据Jesse Adams Stein的观察，到2021年人口普查公布时，这一数字可能会减少到180人（15）。设计行业是否应该关心世界上制造业国家中最小的职业群体之一？事实上，它应该这样做。《澳大利亚的工业工艺》加入了越来越多的批评话语，质疑并阐明了设计师在设计中的霸权地位的负面后果。斯坦因的书是基于研究和录音采访。主题包括阶级和性别，图案制作因技术进步而消亡，以及对个体制作者的影响。与图案制作是一门工艺的观点一致，斯坦因记录了在图案制作职业生涯中或之后存在的创造性实践。照片有助于叙事，写作风格也很容易理解。Stein将工业工艺定义为“制造过程中精细的手工技能和专业生产知识的融合”，包括“在制造的生产前阶段和机器生产后的手工加工阶段进行的手工工艺”（2）。这些技能通常是在专门从事装配和车削、工具制造或图案制造等行业的工业制造厂通过四年的合同学徒期学习的。此外，学徒还参加技术教育课程。在20世纪西方制造业的鼎盛时期，工业模具制造商致力于手工制作齿轮、车轮、轴承等的成型或铸造模具，其尺寸从铁路和采矿设备零件到搭扣和线轴不等。传统上，这些模板是由木材制成的，这需要图案制作者发展木工技能，从而能够精确描绘微小的细节。有必要掌握木材种类的知识，以及技术制图、冶金和金属收缩、工具制造、问题解决、可视化和生产计划。在塑料制品蓬勃发展的过程中，使用了木材模板，其中一些是小而挑剔的，例如意大利面或糖果模具。随着二十世纪的发展，环氧树脂、硅树脂、玻璃纤维、聚苯乙烯和铝等新材料被添加到了制模师的资源中。这本书最初几章中对模式制作的简要描述只是说教，因为斯坦因指出，她的书是关于模式制作者的：“他们的培训，阶级和性别在他们的工作生活中作为结构力量的作用，他们的创造性实践，以及他们与技术和劳动力市场不断发展的关系”（3）。她的方法论（传记口述历史访谈）聚焦于澳大利亚十二位现有和前任模式制定者：十名男性和两名女性，年龄在30岁至80岁之间（18岁）。这使得人们能够反思家庭、培训、车间关系、女性和“可疑”男性的位置、“外国人”的生产3以及图案制作者的技能所产生的创造性渠道。这些故事引人入胜，内容丰富。关于他们职业生涯的技术和就业方面，上述统计数据已经说明了这一行业的存在：主要是男性的劳动力已经被CAD/CAM（计算机辅助设计和计算机辅助制造）和CNC（计算机数控）机器所取代。一些模具制造商已经适应了计算机驱动的模具制造，另一些则被贬低为完成数控机床无法完成的模具，还有一些
{"title":"Industrial Craft in Australia: Oral Histories of Creativity and Survival","authors":"D Wood","doi":"10.1162/desi_r_00699","DOIUrl":"10.1162/desi_r_00699","url":null,"abstract":"The US Bureau of Labor Statistics (2020)1 records 190 “Patternmakers (Wood)” and 2,400 “Patternmakers (Plastics and Metal)” in the whole country. The Australian Bureau of Statistics (2016)2 documents 270 engineering patternmakers, and according to Jesse Adams Stein’s observations, this number may diminish to 180 by the time the 2021 census is published (15). Should the design profession care about one of the smallest occupational groups in manufacturing countries around the world? Indeed, it should. Industrial Craft in Australia joins the growing critical discourse that questions—and illuminates the negative consequences of—the designer’s hegemonic place in design. Stein’s book is based on research and recorded interviews. Topics include class and gender, the demise of patternmaking as a result of advancing technology, and the consequences for individual makers. In line with the argument that patternmaking is a craft, Stein documents the creative practices that existed alongside or subsequent to a career in patternmaking. Photographs assist the narrative, and the writing style is eminently accessible. Stein defines industrial craft as “the confluence of refined manual skill and specialist production knowledge in manufacturing processes,” including “manual processes undertaken in the pre-production stage of manufacturing, and in the hand-finishing stages, after machine production” (2). These skills are normally learned over four years of indentured apprenticeship in an industrial manufacturing facility that specializes in trades, such as fitting and turning, toolmaking, or patternmaking. In addition, the apprentice attends classes in technical education. In the heyday of twentieth-century manufacturing in the West, industrial patternmakers were dedicated to hand-making forms for gears, wheels, bearings, and so on that were molded or cast, in sizes that ranged from railway and mining equipment parts to buckles and bobbins. Traditionally the forms were made from timber, requiring patternmakers to develop woodworking skills that enabled precise depiction of minute detail. It was necessary to have knowledge of timber species along with technical drawing, metallurgy and metal contraction, toolmaking, problem solving, visualization, and production planning. Timber forms were used during the burgeoning of plastic products, some of which were small and finicky, for example, pasta or confectionary molds. As the twentieth century progressed, new materials, like epoxy resin, silicone, fiberglass, polystyrene, and aluminum were added to the patternmaker’s resources. This brief description of patternmaking, elucidated in the book’s initial chapters, is merely didactic, because Stein points out that her book is about pattern makers: “their training, the role of class and gender as a structuring force in their working lives, their creative practices and their evolving relationship to technology and the labour market” (3). Her methodology (biographical oral histo","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 4","pages":"76-78"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47745380","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}
In this article I explore the challenges faced in design practice, where the approach to inquiry depends on understanding the context as a whole with all of its interconnected parts, and its successful transformation from one developmental phase to another. The specific goal of this article is to reflect on the meaning behind and the significance of the Issue Mapping Strategy in the exploratory research process of problem finding and discuss challenges encountered in the process of discovery that might lead to invalid topics and thus to design process fallacies. Therefore, this article explores three major areas of concern—places of invention, process of invention and product of invention—where the risk for design process fallacies is greatest. The significance of discovering commonplaces of arguments and the process of reasoning that help to identify issues in problematic situations is discussed and examples are given. The Issue Mapping strategy is useful in all of the cases that focus on problem finding in complex environments and situations of uncertainty in human experience.
{"title":"Issue Mapping Strategy: Process of Discovery, Places of Invention and Design Process Fallacies","authors":"Kaja Tooming Buchanan","doi":"10.1162/desi_a_00694","DOIUrl":"10.1162/desi_a_00694","url":null,"abstract":"In this article I explore the challenges faced in design practice, where the approach to inquiry depends on understanding the context as a whole with all of its interconnected parts, and its successful transformation from one developmental phase to another. The specific goal of this article is to reflect on the meaning behind and the significance of the Issue Mapping Strategy in the exploratory research process of problem finding and discuss challenges encountered in the process of discovery that might lead to invalid topics and thus to design process fallacies. Therefore, this article explores three major areas of concern—places of invention, process of invention and product of invention—where the risk for design process fallacies is greatest. The significance of discovering commonplaces of arguments and the process of reasoning that help to identify issues in problematic situations is discussed and examples are given. The Issue Mapping strategy is useful in all of the cases that focus on problem finding in complex environments and situations of uncertainty in human experience.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 4","pages":"3-20"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49663373","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}
Kolam is the 5,000-year-old art of making geometric floor drawings with rice flour, practiced by the Dravidian women of South India. This article introduces a point lattice-based method of visual organization that is derived from Kolam drawings. In it, a point lattice formed by a regularly spaced array of points is used to structure visual compositions, as an alternative to a network of orthogonal lines (also known as the grid). First, I show how the point lattice system is used to structure Kolam drawing compositions, including the lattice's construction, types, and uses. Second, through a formal analysis of such a points system in structuring forms, patterns, letters, and layouts in graphic design, I show that this system offers a whole alternate universe of compositional possibilities that are not apparent when graphic designers see a grid not as points, but as a series of constraining straight lines. Through this research, I look inward into the design ethos and tools present in Indian arts and crafts and present its application in contemporary design practice.
{"title":"The Kolam Drawing: A Point Lattice System","authors":"Anika Sarin","doi":"10.1162/desi_a_00690","DOIUrl":"10.1162/desi_a_00690","url":null,"abstract":"Kolam is the 5,000-year-old art of making geometric floor drawings with rice flour, practiced by the Dravidian women of South India. This article introduces a point lattice-based method of visual organization that is derived from Kolam drawings. In it, a point lattice formed by a regularly spaced array of points is used to structure visual compositions, as an alternative to a network of orthogonal lines (also known as the grid). First, I show how the point lattice system is used to structure Kolam drawing compositions, including the lattice's construction, types, and uses. Second, through a formal analysis of such a points system in structuring forms, patterns, letters, and layouts in graphic design, I show that this system offers a whole alternate universe of compositional possibilities that are not apparent when graphic designers see a grid not as points, but as a series of constraining straight lines. Through this research, I look inward into the design ethos and tools present in Indian arts and crafts and present its application in contemporary design practice.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 3","pages":"34-54"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44132160","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}
Disgust is commonly understood as an emotion of aversion. However, people seem to eat certain food items not despite containing disgust eliciting features but because of them. In this paper, we introduce the term aesthetic disgust to capture this phenomenon. We outline in our manuscript how designers use different techniques to stage the food experience and facilitate aesthetic disgust, which can be understood as more than just a pleasurable experience. We outline twelve staging techniques used in the context of food design to facilitate a distancing or embracing effect regarding the disgust eliciting features. Three food examples illustrate how these different techniques can be combined and applied in design practice.
{"title":"Setting the Stage: Disgust as an Aesthetic Food Experience","authors":"Mailin Lemke;Bas de Boer","doi":"10.1162/desi_a_00689","DOIUrl":"10.1162/desi_a_00689","url":null,"abstract":"Disgust is commonly understood as an emotion of aversion. However, people seem to eat certain food items not despite containing disgust eliciting features but because of them. In this paper, we introduce the term aesthetic disgust to capture this phenomenon. We outline in our manuscript how designers use different techniques to stage the food experience and facilitate aesthetic disgust, which can be understood as more than just a pleasurable experience. We outline twelve staging techniques used in the context of food design to facilitate a distancing or embracing effect regarding the disgust eliciting features. Three food examples illustrate how these different techniques can be combined and applied in design practice.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 3","pages":"20-33"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42155739","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 COVID-19 pandemic has fundamentally altered experiences of space and engendered new spatial design tactics. This article discusses DIY pandemic design tactics used by U.S. microbusinesses to reshape embodied experiences of interior retail spaces, in relation to contemporary artworks. Over the course of the pandemic, large corporations developed standardized, mass-produced designs for pandemic wayfinding and interior demarcation. In contrast, many microbusinesses used DIY pandemic design tactics having formal qualities and phenomenological implications that resemble precedents in contemporary art. Although pandemic safety protocols could be seen as a form of social control, this article depicts their visualization in graphics and barriers as acts for reshaping collective space and as endangered forms of local, non-homogenized design.
{"title":"Pandemic Design: Art, Space, and Embodiment","authors":"Manol Gueorguiev;Adrian Anagnost","doi":"10.1162/desi_a_00688","DOIUrl":"10.1162/desi_a_00688","url":null,"abstract":"The COVID-19 pandemic has fundamentally altered experiences of space and engendered new spatial design tactics. This article discusses DIY pandemic design tactics used by U.S. microbusinesses to reshape embodied experiences of interior retail spaces, in relation to contemporary artworks. Over the course of the pandemic, large corporations developed standardized, mass-produced designs for pandemic wayfinding and interior demarcation. In contrast, many microbusinesses used DIY pandemic design tactics having formal qualities and phenomenological implications that resemble precedents in contemporary art. Although pandemic safety protocols could be seen as a form of social control, this article depicts their visualization in graphics and barriers as acts for reshaping collective space and as endangered forms of local, non-homogenized design.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 3","pages":"5-19"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://ieeexplore.ieee.org/iel7/6720221/9931005/09931060.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42444331","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Under the Fascist regime, young Italians amused themselves by practicing the war games of adulthood. Paper soldiers marched across board games set in the newly established empire of Italian East Africa. To reveal how these vicious lessons worked, this article examines three types of toys. It starts with the design and deployment of paper soldiers: Italian Alpinisti, Eritrean Ascari, and Somali Dubat. Next, a playbook for The Conquest of Abyssinia boardgame provides a guide to military conquest. Finally, I examine where these toys come from, revealing the financial structures that underpinned colonial propaganda for Fascist government projects. Ultimately, toys wrote scripts for adult violence in the colonies.
{"title":"Paper Soldiers on the March: Colonial Toys for Imperial Play","authors":"Diana Garvin","doi":"10.1162/desi_a_00691","DOIUrl":"10.1162/desi_a_00691","url":null,"abstract":"Under the Fascist regime, young Italians amused themselves by practicing the war games of adulthood. Paper soldiers marched across board games set in the newly established empire of Italian East Africa. To reveal how these vicious lessons worked, this article examines three types of toys. It starts with the design and deployment of paper soldiers: Italian Alpinisti, Eritrean Ascari, and Somali Dubat. Next, a playbook for The Conquest of Abyssinia boardgame provides a guide to military conquest. Finally, I examine where these toys come from, revealing the financial structures that underpinned colonial propaganda for Fascist government projects. Ultimately, toys wrote scripts for adult violence in the colonies.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 3","pages":"55-70"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45552768","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}
In this conceptual article, our aim is to deconstruct the conceptualization of design framing and establish its essentially political nature. It demonstrates the positionality inherent within frames insofar as frames articulate subordinated or dominant status, or express normative understandings until challenged. In doing so, we build a conceptualization of the political foundations of design framing practices and their implications for those contexts within which design operates. Consequently, we argue for dissensual counter-framing design practices that unsettle institutionalized norms and ideologies played out within frames, and through which a form of political agency is sociomaterially enacted.
{"title":"On the Politics of Design Framing Practices","authors":"Sharon Prendeville;Pandora Syperek;Laura Santamaria","doi":"10.1162/desi_a_00692","DOIUrl":"10.1162/desi_a_00692","url":null,"abstract":"In this conceptual article, our aim is to deconstruct the conceptualization of design framing and establish its essentially political nature. It demonstrates the positionality inherent within frames insofar as frames articulate subordinated or dominant status, or express normative understandings until challenged. In doing so, we build a conceptualization of the political foundations of design framing practices and their implications for those contexts within which design operates. Consequently, we argue for dissensual counter-framing design practices that unsettle institutionalized norms and ideologies played out within frames, and through which a form of political agency is sociomaterially enacted.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 3","pages":"71-84"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://ieeexplore.ieee.org/iel7/6720221/9931005/09931091.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47248327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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