介绍
Though design continues to broaden its scope, 应用, 和
impact throughout the world, it remains a humble profession. 什么
seems to keep it grounded and unassuming in the midst of its
expansion and growth is its core commitment to serving others. 这
ongoing fascination with the “other” also provides design with a
reservoir of unlimited subject matter. The imagining of others fre-
quently converges around some key terms, such as empathy, ser-
副, 相互作用, 参与, and integration.
There are also less positive terms, such as marginalized,
特权, and indifferent when we think about “others.” Design
has a role to play here as well. There are times when portraying the
plight and issues embedded within complex social situations in an
appropriate way is the valuable contribution. Like sociologists and
anthropologists, designers often help the world see individuals and
people differently and articulate the need for change through sub-
tler means. The things made by human beings—including ways of
making—are often the vehicles used to highlight injustices, uncover
deeper issues, and challenge the status quo.
在这个问题上, each author’s commitment to the notion of
“other” becomes a place wherein contemporary design issues are
raised and addressed. Pramod Khadilkar points to a massive
other—34.7% of the world’s population—that lives on less than $2
per day. Called the bottom or base of the pyramid (BoP) by econo-
迷雾, this is a group whose needs have not been sustainably met
according to Khadilkar. Challenging the product centricity that is
pervasive even among the set of design approaches that propose
designing beyond the product, he offers a capability approach that
formulates a more comprehensive design scope suitable to address-
ing BoP design issues.
In their article, Cees de Bont and Sylvia Xihui Liu ask what
it will take for strategic design and breakthrough innovation to
enter China. China is undoubtedly an emerging “other” on the
土井:10.1162/DESI_e_00435
© 2017 麻省理工学院
设计问题: 体积 33, 数字 2 春天 2017
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global stage according to many, yet the types of design-led innova-
tion that have taken hold in Europe, 美国, and Korea have
not yet developed there. The contribution of the co-authors includes
a recommendation for a practical design education program in
China based on the input of high-profile design leaders within well-
respected design and innovation organizations.
Pedro Alonso and Hugo Palmarola raise the issue of what a
symbol really signifies as the NASA logo found in a U.S. 卫星
tracking station in Chile can be framed through an archaeological
lens. Tracing the history and context of a remnant mosaic that still
remains in the rural area of Peldehue, they provide a rich interpre-
tation of the NASA logo as a system comprised, not only of satellites
and radio signals, but also buildings, equipment, and infrastruc-
真实. Their archeological digging reveals design’s role in making
possible “the trespassing of national borders” in service of the U.S.
strategy to shape NASA as an image of international mass consump-
的. There is a lesson here on the makings of a terrestrial commu-
nication system and insight into the messy arena that design often
enters when it serves a particular group’s interest.
有时, systems are not built with a particular agenda
and the messiness gives way to an emergent order of its own. 在
their article, Koumudi Patil and Uday Athavankar contribute to the
developing domain of self-organizing designs and systems by shed-
ding light on the reflective practice of Banarasi toymakers in Vara-
nasi, 印度. They begin by comparing the collective design process
of the toymakers to that of Latour’s cartographers who inscribe and
re-inscribe their community worldview through cycles of accumu-
lated and non-explicit coordination. These Banarasi toymakers are
able to bypass shared formal drawings as they have a clear sense of
what their other, counterpart members are doing; they epitomize
the idea of making and thinking with their hands. This article pro-
vides a way to understand how design often integrates various
“others” to shape a more compelling or comprehensive whole.
The remaining three articles further explore the idea of
design as a way to bring together various other perspectives. Per
Åman, Hans Andersson, and Mike Hobday argue that design is not
only a body of knowledge to be integrated but also a core knowl-
edge-generating activity. Like light which is both a particle and a
wave, the co-authors make the case for design’s dual nature where
the two natures are the technically rational and the human-centered
方面. They argue for a dialectical view of knowledge where
the other is us and we are the other—we cannot “treat science and
engineering as the domain of rationality and efficiency and human
aspects as non-instrumental or peripheral.”
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设计问题: 体积 33, 数字 2 春天 2017
Contrary to the aforementioned duality of knowledge,
Lindsay Poirier confronts the dualism in design practice that often
leaves certain groups out of the conversation. She makes the dis-
tinction between the logic of design, or that which unifies distinct
approaches to design, from what she calls design logics. Anchoring
her experiment in the digital empirical humanities, Poirier offers
a critical approach to designing digital systems that involves a de-
liberate disruption of hegemonic design logics through a strategy
of devious design. Inspired by Teresa de Lauretis, devious design
is fundamentally about positioning oneself as an “other” to a situ-
ation by displacing oneself as an “other” within it. By confronting
incongruent logics within their own framework, designers are
able to create frictions within a system that mark the beginnings
of a transformation toward something ultimately more inclusive
and heterogeneous.
The last article by Ozge Merzali Celikoglu, Sebnem Timur
Ogut, and Klaus Krippendorff brings the idea of other full circle by
focusing on designers as the other. Although the trend among
designers has been to take on more of a holistic role by performing
both the function of producer and front-end researcher in project
工作, many organizations still separate these two functions. 这
article addresses the practical issue of connecting insights to actions
and the hand-off from research to production by exploring how cul-
tural probes and user stories inform the understanding, interpreta-
的, and synthesis of designers-as-producers.
The pluralism within design is alive more than ever and
Design Issues continues to embrace the multiplicity of voices within
the broadening field of design. Central to this pluralism is the com-
mitment to the voices of others and serving all people in pursuit of
their individual and collective purposes. 这样, not only is
design a humble profession but also a noble one.
Bruce Brown
理查德·布坎南
卡尔·迪萨尔沃
Dennis Doordan
Kipum Lee
维克多·马戈林
拉米亚·马泽
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设计问题: 体积 33, 数字 2 春天 2017
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