介绍
This issue of Design Issues explores topics of continuing relevance.
It first contains a major collection of special issue essays on the con-
struction of a design history. Also included is a book review on the
significance of time in the design of history, a reflective essay on the
evolution of design for disability locating it in a new climate of post-
Universal Design, and an exhibition review offering some thoughts
on our shifting sense of materiality in post-COVID environments.
The articles assembled by the guest editors of this special
issue of Design Issues explore the designation of “Swiss graphic
设计,” “Swiss typography,” or “Swiss style” as an international
standard applicable to a variety of media, 例如, posters, 图书,
corporate identities, and signage systems. This visual standard was
claimed to be one of the country’s leading products when proposed
to UNESCO in 2014 as an Intangible Cultural Heritage. The guest
editors and authors of this special issue observe that the history of
Swiss design was initially built by a group of Western, male design-
ers writing about selected objects in a small number of prestigious
professional journals, and that many of those texts set out to address
a targeted audience of design enthusiasts, which so resulted in
a neat history of Swiss graphic design. 因此, this served to reduce
its rich past to a small number of actors working within a more
narrowly defined timeframe. The guest editors and authors also
point out, that because many of these histories were not driven by
research questions, they seldom entered into academic discourse or
dealt with the complex underlying structures of design research,
教育, and practice. 所以, this special issue revisits the history
of Swiss graphic design and typography, not as a monolithic label
or style, but as a multi-faceted construction within an international
话语. This work has been supported by a grant from the Swiss
National Science Foundation—making it their largest funded proj-
ect in the field of design research.
In his review of Design, History and Time: New Temporalities in
a Digital Age, Stephen Boyd Davis considers the different emphases
of its three sections—the first being dominated by perceptions of
时间, the second with the interpretation of historical material evi-
登塞, and the third with designs that seem to explicitly engage with
时间. He suggests that one thing clearly emerging from these essays
https://doi.org/10.1162/desi_e_00619
© 2021 麻省理工学院
设计问题: 体积 37, 数字 1 冬天 2021
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is that history is a design. Commenting on Herbert Simon’s much
quoted aphorism, “everyone designs who devises courses of action
aimed at changing existing situations into preferred ones,” Boyd
Davis observes that Simon was thinking about designing the future.
So this volume emphasizes how we design certain pasts to suit and
shape our chosen narratives—it being a truism of historiography
that histories are selective and formative. With some weight Boyd
Davis concludes that, “those who succeed in designing the past may
control the future.”
In her review essay, “In the Wake of Universal Design:
绘制地形图,” Elizabeth Guffey points out that, whereas de-
sign for inclusiveness is undergoing a paradigm shift, the expansion
of design for disability has been so rapid and multifaceted that it
is stimulating unsettling new questions—as well as answers. Grow-
ing out of Universal Design’s reliance on established anthropo-
metrics and out-dated ideas of standardization, design for disa-
bility is now giving shape and meaning to a new era where design
is on demand with increasing customization, the rise of partici-
patory and co-design, and the advent of the DIY movement. Guffey
elaborates this condition through five themes: 第一的, “Misfitting” rec-
ognizes that disability is a social construct shifting discussion away
from the specifics of individual cases and toward widespread mis-
fits between bodies and a world that has not been constructed with
them in mind. 第二, “User-initiated” asserts that disabled people
cannot be dismissed as actionless stakeholders waiting to be res-
cued by intelligent, sovereign designers. So post–Universal Design
intertwines participatory design with ideas of disability empow-
erment. 第三, Guffey’s theme “Mass Customization” highlights a
contradiction underlying Universal Design—namely, its roots in
collective and often totalizing design solutions based on factory
standardization. The new era of assistive digital technologies is one
factor that helps to make design more adaptable, matching to each
person regardless of ability or need. 第四, “Disability Dongle”
identifies the recent flowering of ideas around disability-friendly
drones, robots, and smart textiles as altruist projections of goodwill,
often developed with little or no input from disabled people them-
自己, so overlooking their genuine needs. In her fifth and final
theme, “Critical Speculation,” Guffey asks if culture can be used to
leverage all of these issues.
In his review of Neri Oxman: Material Ecology, organized by
Paola Antonelli and Anna Burckhardt at MoMA, Dennis Doordan
reflects on the absence of a walk-through gallery experience due
to the coronavirus pandemic. Missing the physical and sensory
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设计问题: 体积 37, 数字 1 冬天 2021
interaction with materials so redolent of a gallery experience,
Doordan’s review of the exhibition is solely based on its online
在场. 这里, he observes that, whereas the accompanying videos
produced by Oxman would normally be a supplement to the gal-
lery experience, they now have shifted to center stage to offer a
richly rewarding experience as the most valuable part of the online
经验. Focused on Antonelli’s long-standing interest in the
intersection of science, 工程, 和设计, this exhibition is
about process as product and is design driven by speculation rather
than application. With her colleagues at MIT, Oxman explains how
she distils algorithms and mathematical behaviors from natural
实体, then applies them to the fabrication of new materials. 作为
Doordan observes, it is ironic that access to an exhibition so focused
on biology and its relationship to design has been thwarted by a
biological agent: the coronavirus.
Bruce Brown
理查德·布坎南
卡尔·迪萨尔沃
Dennis Doordan
Kipum Lee
拉米亚·马泽
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The editors regret that the Introduction of vol. 36, 不. 4 (秋天
2020) inadvertently reversed the authors’ names. Correctly, Niya
Stoimenova and Rebecca Price co-authored “Exploring the Nuances
of Designing (with/for) Artificial Intelligence.”
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设计问题: 体积 37, 数字 1 冬天 2021
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