Design and Culture最新文献

{"title":"Open Plan: A Design History of the American Office","authors":"Petra Probstner","doi":"10.1080/17547075.2021.1996826","DOIUrl":"https://doi.org/10.1080/17547075.2021.1996826","url":null,"abstract":"In this history of the American open plan office, Jennifer KaufmannBuhler, an Assistant Professor in the Rueff School of Design, Art, and Performance at Purdue University, takes the reader on a journey through the evolution of the open plan work space and work culture itself. To do this, she considers workers’ peripheral issues, such as benefit packages, family photographs on cubicle walls, and spare systems furniture parts; matters that might be considered mundane but here are used to illuminate workers’ everyday lives and, thus, organizational culture as a whole. By reflecting on the experiences of workers of different genders, races, and abilities, Kaufmann-Buhler shifts the viewpoint from the single, often idealized generic worker, to the embodied experience of a diverse array of individuals. In its early days, open plan office design was considered a panacea for the social, organizational, architectural, and technological problems of the office space. As Kaufmann-Buhler writes, advocates frequently described it as a “transformative solution to the problems of contemporary organizations, a solution that would upend organizational hierarchy, support communication, and facilitate rapid change” (165), giving workers agency over their space and control over their work process. This book’s purpose is not to reinforce or challenge this point, but instead to untangle key drivers of the evolution of the workplace and identify the pivotal systemic issues surrounding this design model. At the fore is the system’s idealization of users as a homogenous “knowledge worker whose body, identity, and opportunity were conceptualized as universal and excluding workers’ whose bodies, identities, or job classifications were outside of that ideal” (14). Open Plan takes a thematic approach to explore the ways in which the economic considerations, futuristic visions, and conceptual and technological changes driving open plan offices intersect with the lived experiences of workers who actually use them. Managing change is a central theme in the first two chapters of the book, which puts idealistic design intentions and actual results into sharp contrast. Kaufmann-Buhler argues that, despite the language of egalitarianism used by American architects, designers, and organizations who discussed the open plan office as a step towards equality within the workforce, the practical manifestation of space Petra Probstner is an Associate Professor in Interior Architecture at Columbia College Chicago. pprobstner@colum.edu © 2021 Petra Probstner DOI: 10.1080/ 17547075.2021.1996826","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"14 1","pages":"234 - 237"},"PeriodicalIF":0.7,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48856934","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Design Struggles: Intersecting Histories, Pedagogies, and Perspectives","authors":"Saraleah Fordyce","doi":"10.1080/17547075.2021.1996934","DOIUrl":"https://doi.org/10.1080/17547075.2021.1996934","url":null,"abstract":"Design Struggles critically assesses the complicity of design in creating, perpetuating, and reinforcing social, political, and environmental problems — both today and in the past. The book proposes to brush the discipline against the grain, by problematizing Western notions of design, fostering situated, decolonial, and queer-feminist modes of disciplinary self-critique. In order to reimagine design as an unbound, ambiguous, and unfinished practice, this publication gathers a diverse array of perspectives, ranging from social and cultural theory, design history, design activism, sociology, and anthropology, to critical and political studies, with a focus on looking at design through the intersections of gender, race, ethnicity, culture, class, and beyond. It combines robust scholarly insights with engaging and accessible modes of conveyance and storytelling by bringing together an urgent and expansive array of voices and views from those engaged in struggles with, against, or around the design field.","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"14 1","pages":"240 - 243"},"PeriodicalIF":0.7,"publicationDate":"2021-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46717621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Design in Crisis: New Worlds, Philosophies, and Perspectives","authors":"Dan Vlahos","doi":"10.1080/17547075.2021.1996828","DOIUrl":"https://doi.org/10.1080/17547075.2021.1996828","url":null,"abstract":"office and the real organizations shaped by an exclusionary, discriminatory, and highly secretive corporate culture” (166). In the past fifty years, designs for open offices have improved in terms of standards, accessibility, codes, and guidelines to keep office workers safe, productive, and well; but Kaufmann-Buhler is right in her insistence that organizations have a long way to go in appreciating individuality and accommodating diverse needs. Open plan offices can improve only if their creators acknowledge the real problems of discrimination and inequality that are embedded in organizational culture and reinforced and reproduced through the iterations of office design. Design history will benefit from more histories that, like this one, acknowledge peoples’ complex lived and sometimes fraught experiences with iconic, celebrated designs.","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"14 1","pages":"237 - 240"},"PeriodicalIF":0.7,"publicationDate":"2021-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60318066","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Design, Nature, and Revolution: Toward a Critical Ecology","authors":"M. Bohannon","doi":"10.1080/17547075.2021.1975965","DOIUrl":"https://doi.org/10.1080/17547075.2021.1975965","url":null,"abstract":"ation to reflect on Jacqueline’s late-1940s upholstery designs for Jacques’ furniture, when he had to restrain opulence and conceive more economical designs for the living spaces and furnishings of Britain’s middle class, as well as for collective forms of living. This chapter also addresses Jacques’ diminishing creative opportunities in the 1950s and his progressive mental health challenges. Prokop must be credited for resisting the temptation to establish causality between the two. Jacqueline’s story continues after Jacques’ sudden death: she worked for another twenty-five years and the last chapter also describes her achievements in the designs for abstract textiles and applied textiles for the interiors of ships, trains, and planes. Prokop has gathered an impressive amount of information and presents a thrilling story of the partially forgotten Groags. (A complete list of the Groags’ projects and an accessible bibliography is also useful for resuscitating the pair’s design careers.) Her emphasis on Jacques’ life and career may owe to a lack of historical and archival documents relating to Jacqueline, but still the book might have asked more questions associated with feminist criticism. For example, what obstacles did Jacqueline have to overcome in her career that Jacques did not? How did the imperative of unpaid housework and caretaking in the broader sense, stereotypically assigned to women, influence her career? Attending to these questions might have opened up space for further consideration of the relationship between the couple’s work. For example, considering what collaboration looked like in the day-to-day and how artistic exchange could or did take place might have helped us understand even more about the differences in their bodies of work as well as what connects it, beyond their shared last name.","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"14 1","pages":"113 - 115"},"PeriodicalIF":0.7,"publicationDate":"2021-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48059550","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Scandinavian Design and the United States, 1890–1980","authors":"Sydney Simon","doi":"10.1080/17547075.2021.1975933","DOIUrl":"https://doi.org/10.1080/17547075.2021.1975933","url":null,"abstract":"nomic separation of cognitive labor (often associated with design) from craft labor (often associated with nondesign)” (102). In one instance, Rosner partnered with a local Seattle ceramic studio in which she and a cross-disciplinary team of design technologists, ceramic artists, and photographers built a unique machine called “Arc.” This machine enabled ceramic art to be created on a potter’s wheel. Instead of being created by a ceramic artist, however, the piece was formed through a 3D printing process combined with gestures and sounds recorded in the studio. The unique vessel that was formed could never be reproduced again and challenged the idea of universality of ceramic fabrication tools. The examples in this section help the reader make connections to the book’s subtitle – “reworking the methods and margins of design” – they illustrate new possibilities in thinking about distinctions and connections between design, craft, and technology. Critical Fabulations was written well before the pandemic, but many of the overarching concepts in the book seem particularly relevant to our current situation, with its demands to rethink traditional systems and formulate design research and practice in new ways. In the introduction, Rosner asks, “What would it take to understand design as a different kind of project; one that is both activist and investigative, personal and culturally situated, responsive and responsible?” (11). This may be a good question to help frame our future.","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"14 1","pages":"104 - 107"},"PeriodicalIF":0.7,"publicationDate":"2021-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47310949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Jacques and Jacqueline Groag, Architect and Designer: Two Hidden Figures of the Viennese Modern Movement","authors":"Ladislav Jackson","doi":"10.1080/17547075.2021.1975964","DOIUrl":"https://doi.org/10.1080/17547075.2021.1975964","url":null,"abstract":"Marres, Guggenheim, and Wilkie 2018). In fact, as a reader, I sensed a wealth of material-semiotic creativity in how the contributions came to be – in the dissent being discussed and in how the contributors learned by engaging with it as researchers, participants, interviewers, sympathetic observers, and so on. This kind of multimodal learning is inherent to design and design culture in general. Also, affect and the human body – the site of so much politics – are absolutely at the heart of what design does. Further highlighting them could foster a more explicit embrace of alternative ways of engaging with and learning about the world, and even bolder uses of the intellectual resources usually on offer wherever political dissent meets the material. Put differently, design studies could be contributing to, rather than merely explaining, the adventures in “risky” or “inventive” methods that pepper the pages of Design and Political Dissent. Although an attentiveness to the nonverbal is indeed there in many of the book’s chapters, future work might develop it further and make it even more explicit by developing a language to verbalize it. Such a venture would help develop research and practice in design and dissent across many disciplines and fields beyond design studies.","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"14 1","pages":"111 - 113"},"PeriodicalIF":0.7,"publicationDate":"2021-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47103506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Design and Political Dissent: Spaces, Visuals, Materialities","authors":"E. Berglund","doi":"10.1080/17547075.2021.1975961","DOIUrl":"https://doi.org/10.1080/17547075.2021.1975961","url":null,"abstract":"Although it is easy as well as tempting to reduce the politics of designed objects to Manichean binaries – the good versus the bad – this lively and timely volume avoids the temptation. In its pages, the semiotic and the material appear and act with a deftness and subtlety that suggest design scholarship is improving its grip on the complex ways that power travels through design culture. In nineteen chapters of different formats – case studies, interviews, responses – with sixteen color plates and generous black-and-white illustrations throughout, engaging with both professional and non-professional design practice, the volume is a welcome addition to the growing literature on design and politics. It will interest researchers and teachers of design as well as social life, while also being accessible, at least in part, to a more practice-oriented readership. The volume underscores that design research has great potential to contribute significantly to the study of the dissenting political activities that have flourished around the world in the last decade or two, and, in particular, of the creative material interventions these activities have involved. Although activist practices are an established research focus in design history, grappling with the contradictory consequences of contemporary “world making” (5) through design arguably demands new conceptual tools and vocabularies. The book is a concerted intervention into this state of affairs, aimed at engaging with political contention that is anchored in the physical world and often operates at the nonverbal level. The ambition is important quite simply because contemporary life and its spatial, visual, and material dimensions – to echo the subtitle – increasingly fail to make sense, as several authors suggest. (Ana Helena da Fonseca and Barbara Szaniecki’s chapter on the contradiction of urban construction in Rio de Janeiro is one example.) The book gives good indication that design, whether in urbanism, architecture, or product and service design, is beginning to confront its own role in the production of a disturbing sensorium. This idea, in turn, challenges conventional epistemological and political institutions, at least in the Western tradition, based as it has been around promises of technological progress and social improvement. Neither naïve nor celebratory about design, the book as a whole adopts a tone that acknowledges design’s role in creating appalling worlds and supporting practices that destroy viable and cherished ways of life. In putting such Eeva Berglund is Adjunct Professor in the Department of Design at Aalto University, Finland. eeva.berglund@aalto.fi © 2021 Eeva Berglund DOI: 10.1080/ 17547075.2021.1975961 Book Reviews","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"14 1","pages":"108 - 111"},"PeriodicalIF":0.7,"publicationDate":"2021-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41696454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Practice Theory in Industrial Design and Innovation: Materials, Meanings, and Competencies of Electric Wringer-Washers in Turkey from 1950 to the 2000s","authors":"Bilgen Tuncer Manzakoğlu","doi":"10.1080/17547075.2021.1966732","DOIUrl":"https://doi.org/10.1080/17547075.2021.1966732","url":null,"abstract":"Abstract According to practice theory, practices or “doings” that use designed products play a significant role in shaping daily life. Practice theory considers the workings of the dynamic two-way relationships between social structures and human agency. Accordingly, users’ routinized practices constitute a social structure that is commonly characterized by three elements: materials, such as tangible physical things, artifacts, and infrastructures; competencies, which include the know-how and “doing” of practice; and meanings, which encompass symbolic notions and emotions that are attached to the practices or artifacts. Adopting a practice theory approach, my article focuses on user practices around wringer-washers in Turkey, including materials, uses, meanings, and re-uses in the daily lives of Turkish women and families. Historical case studies of laundry practices with wringer-washers explicitly indicate how and under what circumstances user practices can emerge, endure, evolve, and transform into other practices. Prioritizing the involvement of designers, producers, and users in the coproduction of practice processes, I argue in this article that new designs and design innovations are inextricably linked with the user practices that they engender.","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"14 1","pages":"69 - 91"},"PeriodicalIF":0.7,"publicationDate":"2021-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60318017","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reading Graphic Design History: Image, Text, and Content","authors":"Breuna K. Baine","doi":"10.1080/17547075.2021.1973786","DOIUrl":"https://doi.org/10.1080/17547075.2021.1973786","url":null,"abstract":"In his final book, Reading Graphic Design History: Image, Text, and Context, design historian David Raizman provides in-depth analyses of seven pieces of graphic design within their historical context. They include work by a US political cartoonist, a seventeenth-century typophile, and several well-known twentieth-century designers. Raizman scrutinizes the reasons each man began his project and the commercial success of each piece, weighing whether the pieces reached their intended audiences. As part of that discussion, he gives background on the clients, the advertising/design problem that needed to be solved, and the social, cultural, and historical ideas that influenced the maker. Because the works were of personal interest to Raizman during the many years he taught graphic design history at Drexel University, the chapters do not have continuity based on theme, medium, or era (though all his subjects are men from Europe or the United States). What unites the essays is Raizman’s attention to each work’s stylistic and technical considerations and his effort to expose ideas such as the Breuna K. Baine is Associate Professor of Fine Arts at Auburn University Montgomery, Montgomery, AL, USA. bbaine@aum.edu © 2019 Breuna K. Baine DOI: 10.1080/17547075.2021.1973786","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"13 1","pages":"341 - 344"},"PeriodicalIF":0.7,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46569220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Aesthetics of Nostalgia TV: Production Design and the Boomer Era","authors":"Elana Levine","doi":"10.1080/17547075.2021.1973780","DOIUrl":"https://doi.org/10.1080/17547075.2021.1973780","url":null,"abstract":"Attending to creative labor, meanings of the visual, and discourses of nostalgia, Alex Bevan, lecturer in the School of Communication and Arts at The University of Queensland, Australia, brings a multi-disciplinary perspective to an analysis of nostalgic production design in twenty-first-century US and British television. With specific foci on sets, props, and costumes across a three-part structure, Bevan examines multiple scripted and reality-based series to grapple with the ways that these design elements shape the programs’ nostalgic milieus. Her multi-pronged argument is that much television in the twenty-first century, especially that espoused as “quality,” is steeped in mid-century nostalgia, and that the construction of that nostalgia via design elements leads not to a simple, regressive valuation of the past but instead invites a negotiation of historical memory in ways that speak to the social and political struggles of the present. Bevan is especially interested in struggles over identity, in particular gender, race, and class. Mad Men, which originally aired in 2007–2015 on the US cable channel AMC and was subsequently distributed worldwide, is Bevan’s most central and frequent case; the show’s attention to these very identity issues, alongside its famously stylish, midcentury design features, makes it an apt choice. Alongside this attention to nostalgia via design, Bevan also seeks to highlight the labor of production design itself, drawing upon ethnographically influenced methods of media production studies to examine the practices of television design professionals. Here, she challenges assumptions about television as born of the creative vision of individual writer/producers, demonstrating the influence of those media industry workers whose labor is typically made invisible. Through interviews, observations, and tours of sets and warehouses, Bevan details the specific choices and contexts that shape design labor. The analysis combines respectful attention to the craft of Elana Levine is professor of media, cinema, and digital studies in the Department of English at the University of Wisconsin-Milwaukee. ehlevine@uwm.edu © 2019 Elana Levine DOI: 10.1080/ 17547075.2021.1973780","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"13 1","pages":"344 - 346"},"PeriodicalIF":0.7,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47236402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}