介绍
In the 1960s when theorists were building the design methods move-
蒙特, it seemed that the outline of a singular theory of design might
be constructed that would become a framework for all subsequent
theoretical work. That did not happen. What occurred instead was
the emergence of a highly pluralistic field of design research with no
fixed center and an ever-evolving array of themes and issues. 从
this multipolar field has arisen an active community of researchers
who are inventing a framework of inquiry as they go. Rather than
searching for an overarching theory of design, 然而, 他们有
been cultivating particular interests that are forming new nodes of
调查. Two strong characteristics of this new framework are
the attempts to relate design to other bodies of knowledge in order
to better understand it and to draw design into other fields in order
to add a new dimension to them. Both characteristics are evident in
the articles we have selected for this issue.
In his article that relates Aristotle’s philosophy to design
思维, James Wang argues that Aristotle’s theories of reason,
imagination, and practical intellect encourage attention to the
designer as a maker. Wang distinguishes in Aristotle’s philosophy
the difference between makers and doers and discourages attempts
to impose on designers the obligations to produce social effects
that are independent of the process of designing. 然而, 他
notes in Aristotle’s philosophy a relation between formal causes,
which are involved in designing, and final causes, which are their
结果. Wang believes that a study of Aristotle can restore
a relation between reason and imagination thus validating the
presence of the latter as a component equal to reason in the educa-
tion of designers.
Marc Steen draws heavily on the philosophy of John Dewey
for his article on the role of joint inquiry and imagination in
co-design. Steen is concerned with the process of what he calls “col-
lective creativity” that can enable participants from different disci-
plines to create shared understanding in order to achieve common
目标. He finds in Dewey’s emphasis on pragmatism a method
for “moving back and forth between practices (primary experiences)
and reflections (secondary experiences) in order to develop practi-
cal knowledge…” Steen draws on Dewey’s writings about joint
inquiry and imagination to create a process for co-design activities
that can include a moral element as he finds it embodied in Dewey’s
工作. To demonstrate the process he describes, Steen presents a case
© 2013 麻省理工学院
设计问题: 体积 29, 数字 2 春天 2013
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学习, TA2, in which researchers in different disciplines have collab-
orated to develop and evaluate a series of telecommunication, mul-
timedia, and gaming applications.
Clifford Deaton is a political scientist writing about the
posters that the Atelier Populaire in Paris created during the politi-
cal demonstrations of students and workers during May 1968.
Art and design critics and historians have discussed these posters,
but Deaton embeds them more deeply in the political process that
characterized the 1968 demonstrations. 他写, 尤其,
about the ironic rhetoric of the posters and their capacity to disrupt
the prevailing ways of thinking about the situation. A new element
that he introduces is the relation to the resistance during the
Algerian war of the early 1960s, which he sees as a precedent for
the events of 1968.
In their article which addresses the value of information
systems to architectural designers, Pieter Pauwels, Ronald De Meyer,
and Jan Van Campenhout discuss the difficulty of matching the
kinds of reasoning that architects employ in the design process and
the types of information systems that are available to assist them.
Like Wang and Steen, they examine the reasoning process and
recognize different modes that are adopted for specific aspects of it.
They discuss philosopher Charles Sanders Peirce’s theory of abduc-
的, which many design theorists believe to be appropriate to the
design process, and also develop an approach to problem-solving
that has some analogies to Dewey’s method of joint inquiry—though
concerned with the individual designer rather than collaborative
设计. They believe that three modes of reasoning—abduction,
deduction, and induction—are parts of a continuous flow and find
that the technological applications, that might enhance these modes
as a unified process, are still developing with only early results.
然而, Pauwels, De Meyer, and Van Campenhout describe the
limitations of such applications because they believe it infeasible
to include—in them—the many intangible aspects of design knowl-
边缘. What is more feasible, they state, is a more limited technolog-
ical approach that still assigns the fundamental thinking about a
project to the designer.
Ruth Blacksell’s article, “From Looking to Reading,” exam-
ines a group of texts associated with the Conceptual Art movement.
Blacksell analyzes these texts in terms of their designerly elements
of typography and layout, while also discussing how they were
inserted into contemporary art discourse. 尤其, she sees a shift
from looking at visual objects to reading texts as part of the audience
经验. The attention that Blacksell calls to these examples of
text-based art are important for historians of graphic design because
they have been previously overlooked within the graphic design his-
tory narratives even though, as Blacksell points out, they laid the
groundwork for the vital typographic debates among graphic
designers during the 1970s and 1980s.
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设计问题: 体积 29, 数字 2 春天 2013
Cara Wrigley is concerned with ways of making products
more appealing and satisfying to consumers. To assist designers in
better addressing this question, she has created the idea of “visceral
hedonic rhetoric” to put greater emphasis on the emotional relation
of consumers to products. This framework of hedonic rhetoric, 作为
she notes, builds on other frameworks for dialogue between design-
ers and consumers. Wrigley draws heavily on psychological studies
of emotion, which she believes have not been sufficiently utilized
to better understand consumer behavior. She recognizes existing
theories of affect that divide human responses into three levels—
visceral, behavioral, and reflective—and sees all of them relevant to
the design of products. The gap she finds in the research literature,
然而, relates to the properties of a product that “elicit the pur-
suit of pleasure through an instinctual level of cognition.” She thus
proposes that designers take into account the “visual hedonic rhet-
oric” which she believes to be an essential component of product
design that has heretofore not received its due.
By publishing the diverse range of articles that character-
ize each issue of the journal, we are challenging our readers to con-
struct their own design research frameworks within which they can
make sense of the multimodal emergence of inquiries and find
connections that may be useful for themselves and others.
Bruce Brown
理查德·布坎南
卡尔·迪萨尔沃
Dennis Doordan
维克多·马戈林
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设计问题: 体积 29, 数字 2 春天 2013
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