The terms “problem and solution” are omnipresent the world over in various design disciplines and designers often position themselves as problem solvers. Through a rigorous exploration of different perspectives on the problem-solution model and its impact, this article revisits how designers define, perceive, and consequently practice design. It closely explores how frequently propagated terminology and perceptions can impact designers and their work—educationally and professionally. The article also presents alternative approaches to thinking about and practicing design.
{"title":"The Design Problem Revisited","authors":"Dina Lutfi","doi":"10.1162/desi_a_00726","DOIUrl":"10.1162/desi_a_00726","url":null,"abstract":"The terms “problem and solution” are omnipresent the world over in various design disciplines and designers often position themselves as problem solvers. Through a rigorous exploration of different perspectives on the problem-solution model and its impact, this article revisits how designers define, perceive, and consequently practice design. It closely explores how frequently propagated terminology and perceptions can impact designers and their work—educationally and professionally. The article also presents alternative approaches to thinking about and practicing design.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"39 3","pages":"60-71"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44935065","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 investigates the potential of play for design practice and theory. First, drawing on the works of linguist Emile Benveniste and philosopher Giorgio Agamben, I propose a theoretical understanding of play as an act capable of suspending and deactivating means-end relations. Second, I articulate what this deactivating potential of play entails for the field of design through close readings of a series of works by Italian architect, artist, and designer Ugo La Pietra. In doing so, I uncover the politics that this deactivation within design seems to point towards—a politics of play.
本文探讨了游戏在设计实践和理论方面的潜力。首先，借鉴语言学家Emile Benveniste和哲学家Giorgio Agamben的作品，我提出了对游戏作为一种能够暂停和停用手段-目的关系的行为的理论理解。其次，我通过仔细阅读意大利建筑师、艺术家和设计师Ugo La Pietra的一系列作品，阐明了这种失去活力的游戏潜力对设计领域意味着什么。在这样做的过程中，我揭示了这种设计中的失活似乎指向的政治——一种游戏政治。
{"title":"The Politics of Play: Ugo La Pietra's Design Without Ends","authors":"J. Igor Fardin","doi":"10.1162/desi_a_00723","DOIUrl":"10.1162/desi_a_00723","url":null,"abstract":"This article investigates the potential of play for design practice and theory. First, drawing on the works of linguist Emile Benveniste and philosopher Giorgio Agamben, I propose a theoretical understanding of play as an act capable of suspending and deactivating means-end relations. Second, I articulate what this deactivating potential of play entails for the field of design through close readings of a series of works by Italian architect, artist, and designer Ugo La Pietra. In doing so, I uncover the politics that this deactivation within design seems to point towards—a politics of play.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"39 3","pages":"19-29"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46522699","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 reflects an inquiry into the agency in Istanbul maker ecologies by employing phenomenological research through the perspective of Actor-Network Theory. The originally generated onto-phenomenological approach in this article attributes agency to the competencies and the interpretation. Socioeconomic effects that emerged as an outcome of the agency in maker-thing assemblages are reflected as a part of this inquiry. Agency in local maker practices is exposed to show how they are different from the global maker movement through the criticism of it in the discussion.
{"title":"A Promising Break in the “Black Box”: Agency of Competencies and Interpretation in Istanbul Maker Ecologies","authors":"Özgün Dilek;Cigdem Kaya","doi":"10.1162/desi_a_00725","DOIUrl":"10.1162/desi_a_00725","url":null,"abstract":"This article reflects an inquiry into the agency in Istanbul maker ecologies by employing phenomenological research through the perspective of Actor-Network Theory. The originally generated onto-phenomenological approach in this article attributes agency to the competencies and the interpretation. Socioeconomic effects that emerged as an outcome of the agency in maker-thing assemblages are reflected as a part of this inquiry. Agency in local maker practices is exposed to show how they are different from the global maker movement through the criticism of it in the discussion.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"39 3","pages":"45-59"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41253426","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}
“Designerly ways of knowing” is a phrase used in the much-cited article of the same name, written by Nigel Cross in 1982.1 The phrase was first used in Design in General Education2; it has been called “delightful”3; and Cross often refers to it in his subsequent publications.4 The key sentence in Cross’s 1982 article is this: “Design has its own distinct ‘things to know, ways of knowing them, and ways of finding out about them.’”5 Particularly in this article, this concept of “designerly ways of knowing” is under scrutiny. The concept is only part of Cross’s argument, which was especially concerned with the role of design in education. Cross argues that the aim of education in design is not instrumental but for its own sake, for reasons stemming from design’s intrinsic values. These intrinsic values, he argues, depend on “designerly ways of knowing.” In a later article, Cross also argues that design research and design education also are concerned with designerly ways of knowing.6 What began as an element in an argument about design education has led to the pervasive presence of the concept of designerly ways of knowing in design research. As of December 2022, Cross’s article has been cited approximately 5,540 times.7
{"title":"The Delightful Phrase: Are There Really Designerly Ways of Knowing?","authors":"Richard Herriott","doi":"10.1162/desi_a_00727","DOIUrl":"10.1162/desi_a_00727","url":null,"abstract":"“Designerly ways of knowing” is a phrase used in the much-cited article of the same name, written by Nigel Cross in 1982.1 The phrase was first used in Design in General Education2; it has been called “delightful”3; and Cross often refers to it in his subsequent publications.4 The key sentence in Cross’s 1982 article is this: “Design has its own distinct ‘things to know, ways of knowing them, and ways of finding out about them.’”5 Particularly in this article, this concept of “designerly ways of knowing” is under scrutiny. The concept is only part of Cross’s argument, which was especially concerned with the role of design in education. Cross argues that the aim of education in design is not instrumental but for its own sake, for reasons stemming from design’s intrinsic values. These intrinsic values, he argues, depend on “designerly ways of knowing.” In a later article, Cross also argues that design research and design education also are concerned with designerly ways of knowing.6 What began as an element in an argument about design education has led to the pervasive presence of the concept of designerly ways of knowing in design research. As of December 2022, Cross’s article has been cited approximately 5,540 times.7","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"39 3","pages":"72-82"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46548457","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 study examines whether the common typographical recommendations for texts in easy-to-read language are helpful. So far, using a sans-serif font in 14 pt has been suggested. The statistical evaluation shows that Thesis TheSans is read significantly faster than Arial. Fonts with serifs are read slightly faster. The font size of 12 pt is large enough. The study clearly indicates that the strict commitment to sans serif fonts—and the Arial font in particular—for texts in easy-to-read language is wrong. The results can be used by designers and clients as a valid decision-making aid when creating barrier-free communication.
{"title":"The Influence of Fonts on the Reading Performance in Easy-to-Read Texts: A Legibility Study with 145 Participants","authors":"Sabina Sieghart","doi":"10.1162/desi_a_00724","DOIUrl":"10.1162/desi_a_00724","url":null,"abstract":"This study examines whether the common typographical recommendations for texts in easy-to-read language are helpful. So far, using a sans-serif font in 14 pt has been suggested. The statistical evaluation shows that Thesis TheSans is read significantly faster than Arial. Fonts with serifs are read slightly faster. The font size of 12 pt is large enough. The study clearly indicates that the strict commitment to sans serif fonts—and the Arial font in particular—for texts in easy-to-read language is wrong. The results can be used by designers and clients as a valid decision-making aid when creating barrier-free communication.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"39 3","pages":"30-44"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43109819","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}
Contemporary landscaping has been influenced by specific periods of art and technology. As a result, landscape architecture has two leading design philosophies: art and science.1 The grafting of art and technology is an essential concern in the landscape design process.2 Landscape design is the process of determining shape,3 while form generation (FG) provides the direction for the shape.4 Modeling work becomes a representative method for FG. In contrast to architectural materials, FG in landscape design uses more flexible materials, such as clay and sand. Sand is one of the most accessible materials for FG and can be used to transform a diversity of forms. Sand’s easily deformable and reformable characteristics become the most important factor in stimulating human creative activities.5 For example, Jean-Pierre Hébert is an artist who uses sand by combining advanced technologies in the art field.6 Karesansui Gardens, in Japan, offers a prime example of changeable material use.7 However, the easy variability of sand also requires that designers be able to develop the subsequent design process. Only limited applications are possible for those designers who do have the ability. Using sand in the modeling process can offer an effective design direction in terms of creativity. However, its variability makes achieving the ultimate goal of landscape design, which must be applied on a 1:1 scale, difficult. To address the challenges, we have found that laser surveying techniques are useful in measuring its variability. Laser surveying technology recently has been used for landscape planning and design because it is helpful for accurate analysis of the site situation and for preparing the design plans accordingly.8 This cutting-edge technology expands the technological aspects, offering fresh nuance in the process. Figures 1, 2, and 3 provide examples of this work. 1 Michael Murphy, Landscape Architecture Theory (Washington, DC: Island Press, 2016). 2 Sanda Lenzholzer, “‘Science’ and ‘Art’ in Landscape Architecture Knowledge Production,” Landscape and Imagination Conference Proceedings (Florence: UNISCAPE 2013), 287–92. 3 Sanda Lenzholzer, Ingrid Duchhart, and Jusuk Koh, “Research Through Designing in Landscape Architecture,” Landscape and Urban Planning 113 (2013): 120–27. 4 Susan Herrington, Landscape Theory in Design (London: Routledge, 2016). 5 Josie Nickum and Lewis Purgason, “Using the Sand Tray to Facilitate Client Creativity: A Strengths Focused Approach to Adolescent Depression,” Journal of Creativity in Mental Health 12, no. 3 (2017): 347–59. 6 Crisman Cooley, “Sand Traces: Works in Sand by Jean-Pierre Hébert,” jeanpierrehebert.com/~jeanpie7/docs/traces.pdf (accessed July 7, 2022). 7 François Berthier, Reading Zen in the Rocks: The Japanese Dry Landscape Garden (Chicago, IL: University of Chicago Press, 2005). 8 Philipp R.W. Urech et al., “Point Cloud Modeling as a Bridge between Landscape Design and Planning,” Landscape and Urban Planning 203, n
当代园林绿化受到特定时期艺术和技术的影响。因此，景观设计有两种主要的设计理念:艺术和科学艺术与技术的嫁接是景观设计过程中必须关注的问题景观设计是确定形状的过程，而形式生成(form generation, FG)为形状提供方向建模工作成为FG的代表性方法。与建筑材料相比，FG在景观设计中使用了更灵活的材料，如粘土和沙子。沙子是最容易获得的FG材料之一，可以用来转换多种形式。沙子易变形、易改造的特性成为激发人类创造活动的最重要因素例如，让-皮埃尔·赫伯特是一位结合艺术领域的先进技术使用沙子的艺术家日本的Karesansui花园是多变使用材料的最好例子然而，砂的易变异性也要求设计师能够开发后续的设计过程。只有有限的应用程序可能为那些设计师有能力。在建模过程中使用沙子可以在创造性方面提供有效的设计方向。然而，它的可变性使得实现景观设计的最终目标变得困难，这必须以1:1的比例应用。为了解决这些挑战，我们发现激光测量技术在测量其变异性方面是有用的。激光测量技术最近被用于景观规划和设计，因为它有助于准确分析场地情况，并据此制定设计方案这项尖端技术扩展了技术方面，在过程中提供了新的细微差别。图1、2和3提供了这项工作的示例。1 Michael Murphy，景观建筑理论(华盛顿特区:岛屿出版社，2016)。[2]张志强，“景观设计知识生产中的“科学”与“艺术”，”景观与想象学术会议论文集(北京:UNISCAPE 2013)， 287-92。[3]张晓明，张晓明，“基于建筑设计的城市景观设计研究”，《城市规划》(2013)，第4期。4 Susan Herrington，景观设计理论(伦敦:Routledge出版社，2016)。5 Josie Nickum和Lewis Purgason，“利用沙盘促进客户创造力:一种专注于青少年抑郁症的优势方法”，《心理健康创新杂志》第12期。3(2017): 347-59。6 Crisman Cooley，“沙子的痕迹:让-皮埃尔·海姆斯波特的沙子作品”，jeanpierrehebert.com/~jeanpie7/docs/traces.pdf(访问日期:2022年7月7日)。弗朗索瓦·贝尔蒂埃，《岩石中的禅宗:日本干涸的园林》(芝加哥，伊利诺斯州:芝加哥大学出版社，2005)。[8]李建平，“基于点云模型的景观设计与规划”，《景观与城市规划》，第2期。9 (2020): 103903;和Philipp R.W. Urech, Aurel von Richthofen, Christophe Girot，“基于高分辨率激光扫描地形的地面景观设计”，《景观学报》第17期。1(2022): 58-69。
{"title":"Integrating Technology and Art in Landscape Design","authors":"Moohan Kim;Jongeun Yang;Sujeong Lee","doi":"10.1162/desi_a_00728","DOIUrl":"10.1162/desi_a_00728","url":null,"abstract":"Contemporary landscaping has been influenced by specific periods of art and technology. As a result, landscape architecture has two leading design philosophies: art and science.1 The grafting of art and technology is an essential concern in the landscape design process.2 Landscape design is the process of determining shape,3 while form generation (FG) provides the direction for the shape.4 Modeling work becomes a representative method for FG. In contrast to architectural materials, FG in landscape design uses more flexible materials, such as clay and sand. Sand is one of the most accessible materials for FG and can be used to transform a diversity of forms. Sand’s easily deformable and reformable characteristics become the most important factor in stimulating human creative activities.5 For example, Jean-Pierre Hébert is an artist who uses sand by combining advanced technologies in the art field.6 Karesansui Gardens, in Japan, offers a prime example of changeable material use.7 However, the easy variability of sand also requires that designers be able to develop the subsequent design process. Only limited applications are possible for those designers who do have the ability. Using sand in the modeling process can offer an effective design direction in terms of creativity. However, its variability makes achieving the ultimate goal of landscape design, which must be applied on a 1:1 scale, difficult. To address the challenges, we have found that laser surveying techniques are useful in measuring its variability. Laser surveying technology recently has been used for landscape planning and design because it is helpful for accurate analysis of the site situation and for preparing the design plans accordingly.8 This cutting-edge technology expands the technological aspects, offering fresh nuance in the process. Figures 1, 2, and 3 provide examples of this work. 1 Michael Murphy, Landscape Architecture Theory (Washington, DC: Island Press, 2016). 2 Sanda Lenzholzer, “‘Science’ and ‘Art’ in Landscape Architecture Knowledge Production,” Landscape and Imagination Conference Proceedings (Florence: UNISCAPE 2013), 287–92. 3 Sanda Lenzholzer, Ingrid Duchhart, and Jusuk Koh, “Research Through Designing in Landscape Architecture,” Landscape and Urban Planning 113 (2013): 120–27. 4 Susan Herrington, Landscape Theory in Design (London: Routledge, 2016). 5 Josie Nickum and Lewis Purgason, “Using the Sand Tray to Facilitate Client Creativity: A Strengths Focused Approach to Adolescent Depression,” Journal of Creativity in Mental Health 12, no. 3 (2017): 347–59. 6 Crisman Cooley, “Sand Traces: Works in Sand by Jean-Pierre Hébert,” jeanpierrehebert.com/~jeanpie7/docs/traces.pdf (accessed July 7, 2022). 7 François Berthier, Reading Zen in the Rocks: The Japanese Dry Landscape Garden (Chicago, IL: University of Chicago Press, 2005). 8 Philipp R.W. Urech et al., “Point Cloud Modeling as a Bridge between Landscape Design and Planning,” Landscape and Urban Planning 203, n","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"39 3","pages":"83-87"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48874391","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 1983, Donald Schön published his seminal work, The Reflective Practitioner: How Professionals Think in Action. The book emerged during the peak of the Design Methods movement, when works like L. Bruce Archer's Systematic Method for Designers and Herbert A. Simon's The Sciences of the Artificial argued for recognizing design processes as scientific inquiries. Coincidentally, Schön posited an alternative view to rationalizing design processes, called professional artistry, which is implicit professional knowledge. Using protocol studies in various disciplines, he demonstrated that professionals reflect-in-action while working and, as a result, learn and produce knowledge through doing (knowing-in-action). Since the 1980s, design theorists, researchers, and professionals have used Schön's work enthusiastically to articulate that designers learn more about their design process and design project as they design. Forty years after publication, The Reflective Practitioner continues to serve many design researchers as a foundation of learning from the experience of their design processes. However, this theory has limitations that must be recognized and addressed to stay relevant today. The Reflective Practitioner was written for individuals, whereas nowadays, designers often work in teams. The next step is to consider how individual reflections are shared and learned with other designers so that the team benefits from its collective reflective practices.
{"title":"Advancing Donald Schön's Reflective Practitioner: Where to Next?","authors":"Linus Tan;Anita Kocsis;Jane Burry","doi":"10.1162/desi_a_00722","DOIUrl":"10.1162/desi_a_00722","url":null,"abstract":"In 1983, Donald Schön published his seminal work, The Reflective Practitioner: How Professionals Think in Action. The book emerged during the peak of the Design Methods movement, when works like L. Bruce Archer's Systematic Method for Designers and Herbert A. Simon's The Sciences of the Artificial argued for recognizing design processes as scientific inquiries. Coincidentally, Schön posited an alternative view to rationalizing design processes, called professional artistry, which is implicit professional knowledge. Using protocol studies in various disciplines, he demonstrated that professionals reflect-in-action while working and, as a result, learn and produce knowledge through doing (knowing-in-action). Since the 1980s, design theorists, researchers, and professionals have used Schön's work enthusiastically to articulate that designers learn more about their design process and design project as they design. Forty years after publication, The Reflective Practitioner continues to serve many design researchers as a foundation of learning from the experience of their design processes. However, this theory has limitations that must be recognized and addressed to stay relevant today. The Reflective Practitioner was written for individuals, whereas nowadays, designers often work in teams. The next step is to consider how individual reflections are shared and learned with other designers so that the team benefits from its collective reflective practices.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"39 3","pages":"3-18"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64528772","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}
{"title":"L'Homme comme un “être d'habitude.” Essai d'anthropologie et d'épistémologie pour les Sciences du Design","authors":"Marie-Julie Catoir-Brisson;Thomas Watkin","doi":"10.1162/desi_r_00720","DOIUrl":"10.1162/desi_r_00720","url":null,"abstract":"","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"39 2","pages":"87-89"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47006269","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}
Contemporary design discourse needs words to discuss its role in everyday life. Therefore, this article rethinks the meaning and value of the term “vernacular design” in contemporary society, with a focus on vernacular graphic design. We argue that the domain needs an interpretation that is more attuned to novel approaches around hybridity and plurality in design. We frame this development from a theoretical perspective by introducing the concept of hypervernacular as a relational and plural approach. We ground our conceptual argument through a case study description that explores the everyday, ubiquitous, and more-than-human position of the plant species Japanese knotweed through collaboration.
{"title":"Hypervernacular Design: Rethinking the Vernacular Design Paradigm","authors":"Niek Kosten;Liesbeth Huybrechts","doi":"10.1162/desi_a_00718","DOIUrl":"10.1162/desi_a_00718","url":null,"abstract":"Contemporary design discourse needs words to discuss its role in everyday life. Therefore, this article rethinks the meaning and value of the term “vernacular design” in contemporary society, with a focus on vernacular graphic design. We argue that the domain needs an interpretation that is more attuned to novel approaches around hybridity and plurality in design. We frame this development from a theoretical perspective by introducing the concept of hypervernacular as a relational and plural approach. We ground our conceptual argument through a case study description that explores the everyday, ubiquitous, and more-than-human position of the plant species Japanese knotweed through collaboration.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"39 2","pages":"72-85"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48157412","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}
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