DESIGN ISSUES最新文献

{"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}

{"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}

{"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}

{"title":"Contributors","authors":"","doi":"10.1162/desi_x_00730","DOIUrl":"https://doi.org/10.1162/desi_x_00730","url":null,"abstract":"","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"39 3","pages":"88-88"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71903482","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":"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}

{"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}

{"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}

{"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}

{"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}