DESIGN ISSUES最新文献

{"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}

{"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}

{"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}

{"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}

{"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}