“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}
This study explores the notion of experience, as used in “experience design,” based on American philosopher Robert Nozick's idea of an experience machine and Marc Hassenzahl's notion of experience design. Hassenzahl epitomizes experience as pleasure or fulfillment of needs—an idea that Nozick challenges as he claims that the world people engage with matters in a way that is not reducible to pleasure alone. Nozick's observation, I argue, indicates a sense of care in the broader concept of experience design. I explore this sense of care using John Haugeland's conception of existential commitment, which then necessitates a deepening of the notion of Hassenzahl's experience by connecting it with a sense of commitment and responsibility. This connection makes experience design, then, a concern and care for the normative powers of design.
{"title":"Revisiting the Experience Machine: A Philosophical Note on the Limits of Experience Design","authors":"Bo A. Christensen","doi":"10.1162/desi_a_00714","DOIUrl":"10.1162/desi_a_00714","url":null,"abstract":"This study explores the notion of experience, as used in “experience design,” based on American philosopher Robert Nozick's idea of an experience machine and Marc Hassenzahl's notion of experience design. Hassenzahl epitomizes experience as pleasure or fulfillment of needs—an idea that Nozick challenges as he claims that the world people engage with matters in a way that is not reducible to pleasure alone. Nozick's observation, I argue, indicates a sense of care in the broader concept of experience design. I explore this sense of care using John Haugeland's conception of existential commitment, which then necessitates a deepening of the notion of Hassenzahl's experience by connecting it with a sense of commitment and responsibility. This connection makes experience design, then, a concern and care for the normative powers of design.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"39 2","pages":"14-26"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45387587","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}
Our article discusses the insights from original research conducted with design practitioners to better understand the experiences of industrial design graduates as they are adopting new professional roles in user experience (UX) affiliated positions. We utilize narrative identity work as the theoretical frame to interpret the legitimation strategies of industrial designers while grounding their motivations, perceived competence, and fitness to a UX position. Such narratives support our arguments on the conscious efforts of designers toward the construction of a professional designer identity, which is stimulated by this role change.
{"title":"Industrial Designers in UX Practice: Motivations, Professionalization, and the Construction of Designer Identity","authors":"Sedef Süner-Pla-Cerdà;Gülşen Töre-Yargin;Asli Günay","doi":"10.1162/desi_a_00715","DOIUrl":"10.1162/desi_a_00715","url":null,"abstract":"Our article discusses the insights from original research conducted with design practitioners to better understand the experiences of industrial design graduates as they are adopting new professional roles in user experience (UX) affiliated positions. We utilize narrative identity work as the theoretical frame to interpret the legitimation strategies of industrial designers while grounding their motivations, perceived competence, and fitness to a UX position. Such narratives support our arguments on the conscious efforts of designers toward the construction of a professional designer identity, which is stimulated by this role change.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"39 2","pages":"27-40"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42116792","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 elaborates on Schön's model of design to address the material part of the “design conversation.” Bringing in media and mediality studies, our research aims to support a broader understanding of the production of meanings and forms by addressing the difference between materials and mediums. While Schön used both concepts, we show that Dewey's influence on Schön can explain why speaking of mediums as a “system of formation” can better describe the multilayered semiotic working of the material conversation either foregrounding the support and allowing for a bodily experience or foregrounding the message and supporting an interpreting experience.
{"title":"The Forgotten Legacy of Schön: From Materials to “Mediums” in the Design Activity","authors":"Annie Gentes;Giulia Marcocchia","doi":"10.1162/desi_a_00713","DOIUrl":"10.1162/desi_a_00713","url":null,"abstract":"This article elaborates on Schön's model of design to address the material part of the “design conversation.” Bringing in media and mediality studies, our research aims to support a broader understanding of the production of meanings and forms by addressing the difference between materials and mediums. While Schön used both concepts, we show that Dewey's influence on Schön can explain why speaking of mediums as a “system of formation” can better describe the multilayered semiotic working of the material conversation either foregrounding the support and allowing for a bodily experience or foregrounding the message and supporting an interpreting experience.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"39 2","pages":"3-13"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47097343","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 focuses on an expanded critical sound design practice drawing on the qualities of sound associated with embodiment, vocality, and memory. We argue for sound design as a critical tool in communicating design histories in museums, highlighting the case of a research-based pedagogical project between the Royal College of Art and the Victoria & Albert Museum, “The Sounding Object,” which united sound design, history, and critical museology. The project reveals links between sound design practice, history writing, and critical curatorship, demonstrating how sound enhances museums’ capacity to embrace the contingency of history, communicate in inclusive ways, and truly become “polyphonic.”
{"title":"Learning from “The Sounding Object”: Sound Design in the Critical Reimagining of Museum Object Narratives","authors":"Emily Candela;Eric de Visscher","doi":"10.1162/desi_a_00717","DOIUrl":"10.1162/desi_a_00717","url":null,"abstract":"This article focuses on an expanded critical sound design practice drawing on the qualities of sound associated with embodiment, vocality, and memory. We argue for sound design as a critical tool in communicating design histories in museums, highlighting the case of a research-based pedagogical project between the Royal College of Art and the Victoria & Albert Museum, “The Sounding Object,” which united sound design, history, and critical museology. The project reveals links between sound design practice, history writing, and critical curatorship, demonstrating how sound enhances museums’ capacity to embrace the contingency of history, communicate in inclusive ways, and truly become “polyphonic.”","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"39 2","pages":"57-71"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48371372","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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