介绍
As the field of design continues to expand in practice, so too does
design scholarship. For a journal of design history, theory and crit-
icism, that means there is an ever more pluralistic array of research
within its pages. This scholarship—at one and the same time—
embraces traditional humanistic pursuits, such as history; and it
engages with new endeavors, such as citizen science. As this issue
展示, the pages of Design Issues continue to express the
vibrancy of the field of design studies.
Mads Nygaard Folkmann begins his essay, “Unknown
Positions of Imagination in Design,” with the paradox that although
imagination is foundational to design, our ways of describing imag-
ination are lacking. Rather than following the standard approach of
exploring “creativity” in the designer or design process, Folkmann
focuses our attention on how imagination works in the construction
of meaning. For Folkmann, imagination is relational to knowledge,
to the question of “What can be known?” Although many theorists
highlight the synthetic activities and outcomes of design, Folkmann
notes that the chaotic aspects can be productive for taking design-
ers to the edge of knowledge and even beyond, thereby expanding
the possibilities for imagination. Folkmann ends his essay with
a four-stage process of making meaning through imagination,
which provides insight into the processes of design. We continue to
explore what it is that designers do and how perspectives, 例如
Folkmann’s, are useful for gaining understanding into the very
foundations of design thinking and action.
The most banal of objects can become provocative when
they combine with technologies that change their function or char-
角色. In “Dumb to Smart Power Outlets: A Design Perspective on
Smart Grids,” Maddalena Mometti provides us with a historical per-
spective on the changing aspects of power outlets as they become
infused with technological capacities. Mometti begins by tracing
the development of the power outlet as we know it today—from
the experiments of Edison, to the patents of Hubbel, 进而
through a case study of outlet design, as product design in Italy. 她
then provides us with an overview of smart objects and “Internet
of Things,” and she explains how these concepts lead to a reconcep-
tualization of the power outlet itself as being “smart.” As an out-
come of this transformation, Mometti argues that power outlet
土井:10.1162/DESI_e_00291
© 2014 麻省理工学院
设计问题: 体积 30, 数字 4 秋天 2014
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design is now a concern for interaction designers, as the power
outlet itself becomes an interface between the “the physical world
(which needs an energy supply) and the immaterial world (哪个
needs to create meaning and logical connections).”
In “‘Modern’ Graphic Design in Greece After World War
二,” Marina Emmanouil explores how the struggle of post-war
reconstruction in Greece was, 部分地, reflected in the struggles
between historical and modern imagery in Greek graphic design.
The styles of modern art, typography, and layout that were devel-
oping globally post-war were, at first, seen as being in conflict with
Greek identity. As Emmanouil explains, the adoption of these
styles by Greek designers was debated. With the advent of dictator-
ship in Greece, perspectives toward and uses of, graphic design
changed once again. A key insight from Emmanouil is that the
development of Modern Greek graphic design was a dynamic
过程. As she comments, “The status of Greek graphic design at
any one time can be gauged from the extent to which it critically
responded and adhered to imposed or imported ideas of design.”
Understanding the history of design as a history of the development
of cultural identity reinforces the complex interplay of design and
society throughout the Twentieth Century.
In “Citizen Science and Open Design: Workshop Findings”
Robert Phillips, Sharon Baurley, and Sarah Silve present a case study
that explores new practices and new settings of design. 具体来说,
they investigate the topics of open design and digital manufac-
turing in the context of citizen science, which is a cluster of prac-
tices that enroll non-scientific experts in the collection and analysis
of scientific data, often related to the environment. Through a series
of design workshops, the authors explored perceptions of open
design and digital manufacturing, and how participants, of vary-
ing backgrounds and commitments, might make use of these tech-
nologies toward citizen science ends. From their workshops they
highlight a series of themes of significance for design and provide
insights both to the workshop setting itself and to broader contexts
of open design and citizen science. Underlying this case study are
significant shifts in how designers work with communities, tech-
逻辑的, and too, the public politics and implications of science.
In the final article, “Modeling Business Models,” Lianne
Simonse explores a range of methods that can be used in strategic
design practice to give visual form to business models. She begins
with an introduction to what business models are, and then pro-
ceeds to discuss how we might approach business models as from
a design perspective, as a practice of modeling. Simonse draws
together multiple design scholars, including Cross, Schön, 和
西蒙, to outline what modeling is, and is not, as a design activity.
2
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设计问题: 体积 30, 数字 4 秋天 2014
Using a set of case studies, Simonse discusses business modeling
in greater detail, augmented by a series of images. A key insight
that Simonse makes is that business modeling is actually a process
of co-modeling, 那是, the design activity of business modeling
is a cooperative effort. This article, as the others in this issue,
continues to broaden our understanding and appreciation of
design as an increasingly diverse and important set of practices
and perspectives.
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 30, 数字 4 秋天 2014
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