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A Sideboard Manifesto: Design Culture in an Artificial World
The Design Culture Reader, 2008
This introduction is meant to be a manifesto and as such should really demand the complete re-branding of the cultural sciences as design studies – 'Stand aside! The train of design studies is coming through!' But it is also a modest manifesto, a sideboard manifesto, and so imagines something far less dogmatic. What it imagines is an opening up of design studies. Or, more modestly still, it seeks to encourage an opening up that is already taking place as design enquiries look across aesthetics, play-theory, sensual perception, technology, global economics and affect theory for its research perspectives. It wants to promote the expansion of what counts as a design object or practice, an expansion already being pursued by researchers who might want to include air, manners, movement, recipes, plumbing, and medicine, as part of the designed environment. What makes design culture such a productive arena for general social and cultural research is that it can supply the objects that demonstrate the thoroughly entangled nature of our interactions in the material world, the way that bodies, emotions, world trade, and aesthetics, for instance, interweave at the most everyday level.
THEORETICAL FRAMEWORK AND METHODOLOGICAL CONCEPTS OF DESIGN CULTURE
2017
The article is devoted to introducing new theoretical frameworks and methodological concepts from the field known as science and technology studies (STS) and discussing their potential for design history. The concepts of design and culture are analyzed and compared within the article, providing the possibility of developing the complex concept of "design culture". The study shows that design can be considered as a social and cultural phenomenon , that design historians may find that the sociology and the history of technology can provide an appropriate theoretical framework and meth-odological repertoire for studying design, not only as the part of art history. The article introduces main concepts from science and technology studies that might be of particular value to design history and culture, focusing on actor-network theory, script analysis and domestication. Formulation of the problem. Trends in the study areas of design spread beyond consideration about it as historiography of "good designers" and "good design objects". In the twentieth century, design is not just a set of phenomena, though it appears to researchers in manifold aspects of the interaction of its elements: from the idea to the planning, production and consumption. The interweaving of tangible and intangible elements of everyday life traditionally belongs to the complex of discourse, actions, structures and relationships, derived by modern historians and cultural studies researchers as a separate academic field delineated as a "culture of design". The study of the field reached the theoretical level, focusing on the methodological and conceptual aspects of the discipline. Design culture as a new field of academic research provides new ways of social and cultural studies, revealing the material world, which reflects the system of body, emotional, aesthetic and economic discourse. Analysis of research and publications. The theoretical framework of the design culture conceptualization is built within the concept Modern, modernity and mod-ernism by Jean Baudrillard, episteme by Michel Foucault and discourse by Mihail Bakhtin. Among the researchers of the design history and design culture are the most significant. Purpose of the article. The purpose of the study is built in a historical paradigm containing multi-conceptual components, addressing its proposes defining new paths not only within the history of art (which recently claimed the definition of design in the narrow frame of applied arts), but through implementation problems of design as substantive field of cultural studies, sociology, history, technology, aesthetics and social philosophy.
Disegno Journal of Design Culture On "Open" AuthOrship: the Afterlife Of A Design
Aims and Scope Disegno publishes original research papers, essays, reviews on all possible aspects of design cultures. The notion of design culture is understood by us as resolutely vague: our aim is to freely discuss the designed environment as mutually intertwined flows of sociocultural products, practices and discourses. This attitude openly ventures beyond the academic distinctions between art, design and visual culture being accordingly open to all themes with relation to sociocultural creativity and innovation. Our post-disciplinary undertaking expects intellectual contribution from all potential members of different design cultures. Besides providing a living platform for debating issues of design culture our particular aim is to consolidate and enhance the social legitimacy of design culture studies as an emerging field in the Central European academe providing criticism of fundamental biases and misleading cultural imprinting with respect to the field of design. All article...
2020
This article examines the role of design research in contemporary design education for master’s level students. The author discusses the general role of design research in the development of modern design and argues that for today’s design professionals good grounding in research during the training period is indispensable. Teaching design research for master’s level students means introducing them to one of the key skills in developing innovations. The article presents experience of teaching design research for students at a master’s level design educational program in Kyrgyzstan. Combining the best international approaches, design research was introduced as one of the central components of the new educational programs. Several courses teach students major trends and tools in design research, allowing them to expand their horizons and to bridge the gap between theoretical and practical knowledge. It is to be hoped that future development of this programme will produce ground-breaking results in local design education.
The culture of design: a critical analysis of contemporary designers’ identities
This paper describes an ongoing project which investigates the identities of 8 contemporary designers based in major cultural centres (i.e. London, Paris, New York, Amsterdam). The goal is to investigate the mindset and significant cultural influences and inspirations of each designer by asking them where their ideas originate from, what influences their work and what inspires them from a popular cultural perspective? The aim of this work is to collect and classify some of the principal cultural ingredients that successful designers use in their design activities, and to discover common traits amongst designers. In so doing, the Watson-Crick DNA model of living organisms will be used as a speculative metaphor to explore the 'individual' yet common cultural characteristics of these designers.
BOOK REVIEW “An Introduction to Design and Culture: from 1900 to the present”
Tsinghua Design Magazine, Beijing , 2014
Central Arguments In the 2013 and third edition of her book, “An Introduction to Design and Culture: from 1900 to the present,” distinguished design history writer and professor, Penny Sparke, continues to ably trace the development and the role of Western design and designers as she has done in her two previous editions in 1986 and 2004. In this, her latest and updated version, Sparke efficiently weaves in the global and influential role design holds in shaping identities of the world’s cultures and lifestyles through the first decade of the 21st century. In doing so, she firmly situates today’s design practice and profession as one of leadership and prime mover in 2013. At the same time and where applicable, she intelligently updates chapters in the previous edition of her 2004 book to reflect more current attitudes of the social, technological and economic forces pervasive on design today. She accomplishes this task by tracing the role of Western design and designers in their relationship to global consumer culture and drawing from theories found in post-modern academic disciplines such as social history, visual culture, and media studies. Additionally, she includes current and fast changing technological trends such as design’s engagement in social media, virtual reality, and immersive environments. Next Sparke concludes her book with the rise of ‘glo-cal’ism’ i.e. the integration of global and local design sensibilities in the first decade of the 21st century. Lastly Sparke has ably documented the design enterprise from the periphery of being a decorator of commerce at the turn of the 20th century, towards part of the inner circle during Modernism at the mid- century, later becoming a business partner of corporate globalism, and then entrepreneur in ‘glo- calism.” In the final analysis, Sparke summarizes the profession and practice as being highly able to flex and adapt to the forces and contexts of culture and commerce. © Catherine Jo Ishino, 2014. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Catherine Jo Ishino and 2014 with appropriate and specific direction to the original content.
Drafts from sociology of Design. introDuction to Discussion
2016
The following publication is a collection of texts on the contemporary meaning of design, the changing in roles of designers and cultural and social expectations described in the broad cognitive perspective. Although this topic raised in the field of sociology quite recently, the complexity of the phenomenon, its manifestations, forms and ways of preventing provoked the debate on the field. Hence, presented volume is prepared by the researchers, whose interests have been provoked by needs of sociological inclusion in the debate in the area dominated so far by theorists and practitioners from the field of art and related disciplines. Through the publication of this book we would like to explore the area associated with the use and perception of design in a broader social context and try to find the answers for few questions: • What is the role or roles for design in modern society? • How design can be use in solving problems connected with social and cultural changes? • What are the examples of the application of design in processes of social and cultural change? • What are the boundaries of socially responsible design? • How to involve society in the process of socially responsible design? The debate about defining the modern design process, the social roles of designers and their participation in engaging and listening the final recipients at individual and collective level were discussed during the 12th Conference of the European Sociological Association in Prague, (Czech Republic, 25–28 August 2015), where editors of this book had the unique opportunity to chair the session Design in use – the application of design in global processes of social and cultural change. The discussion initiated during this meeting provoked us to make efforts to issue this volume in order to encourage sociological association to open for a wider interdisciplinary discussion in this area.
Taste and attunement: Design Culture as World Making
Design Culture: Objects and Approaches, 2018
This chapter is a speculative attempt to position ‘design culture’ at the centre of our descriptions and understandings of the world. In it I argue that ‘design culture’ allows us to see the world as particular sets of qualities, feelings and meanings as well as a purposefully fashioned material environment. But rather than claiming that design is at the centre of the world (a claim that, to my mind, would be no less spurious than any other claim for the centrality of one particular phenomenon) I want to more modestly explore what it would mean to position design at the centre. In other words, my interest is in the generative affordance of inquiries that treat design as somehow foundational to how the world seems to us (the qualia of our being in the world). In some ways this centrality is already assumed by the actual term ‘design culture’, which orients the ambition of investigation about design towards considering the world-forming activity of design. ‘Culture’, as a qualification for the word ‘design’, offers significantly different capacities than the word ‘history’ or ‘social’, for instance. At its most limited ‘design culture’ might suggest a form of attention aimed at investigating the practices and values enacted, say, by a particular design studio, in the same way that anthropologists might want to look at practices and values of a group of Trobriand Islanders. At its most extensive, though, ‘design culture’ might well try to attend to any and every aspect of society where tools, technology, clothing and the fashioning of an environment are central.