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1-4-2008
Design Research Quarterly Volume 3, Issue 2
Peter Storkerson
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V.3:2 April 2008 www.designresearchsociety.org Design Research Society ISSN 1752-8445 research
Is Disciplinary Research Possible in Communication Design? Peter Storkerson Editor: Design Research Quarterly
This article has its origins in a conflu- pertaining to the use of design in par- Table of Contents: ence. The major focus of this year’s ticular situations geared toward defin- Design Research Society conference ing the goals and specifications of the Article: is disciplinarity and its relationship design. Then, there is basic research 1 Is Disciplinary Research Possible in to design. Design Research Quarterly into how specifications are operation- Communication Design? is also been soliciting articles on dis- alized: how the designs, themselves, Peter Storkerson ciplinary research in communication are constructed. The former has been design. Under the rubric of disciplinar- far better served than the latter. For Listings: ity are many different questions about example, when designing wayfinding 9 Current Research in Design: Tables of knowledge, theory, practice, and wheth- systems, information designers sys- Contents from Leading er it is possible or desirable to place any tematically analyze the actual patterns Design Journals given part of design within a disciplin- of decision making and action in spe- ary frame. cific settings. 17 Upcoming Events Worldwide This is a particularly thorny ques- Communication designers can be Artemis Yagou tion within communication design, very systematic in utilizing the knowl- the field that has grown out of graphic edge of other fields within design, but DRQ-DRS design: a field which is largely devoid the knowledge and the fields are not in- 2 Publication information of theoretical knowledge or research. tegrated into the core design processes. Many modern accounts repeat the past: The heart of communication design– 5 DRS 2008 Conference: Undisciplined! Gestalt principles of seventy years ago; how the physical configuration of phys- Final announcement7 art-based color theories of Itten, Biren ical elements in time and space creates and Albers. Communication design has and alters meaning–remains largely a 18 DRQ subscription not built on them. Design texts also es- black hole. It is just the kind of black DRS Membership information tablish the field according to tradition, hole that is addressed by basic, disci- through the quotes of famous design- plinary research within academia. ers of the past. These quotes are more Put simply, dictionaries define the evocative or philosophical than precise meaning of the word ‘rule’, for instance or operational, and they are not demon- as a thin strip of metal used in printing, strated within these texts. Instead, they or the line that it prints, but an actual offer a legitimating backdrop. rule or line has no specified definition or meaning. By the same token, grade Research, knowledge and communication school grammar books to not have design chapters about location on the page as There are different kinds of re- an element of language. Nevertheless, search. For example, there is research
Continued p. 3 Q Design Research Quarterly Publication Information
Editor: Editorial Advisory Board: Dr. Peter Storkerson Prof. Ken Friedman, Chair Norwegian School of Management, Norway and Danmarks Associate Editors: Designskole, Denmark Dr. Vesna Popovic Dr. Antti Ainamo Queensland University of Technology, Australia Helsinki School of Economics, Finland Dr. Kristina Niedderer Prof. Tevfik Balcioglu Hertfordshire University, UK Izmir University of Economics, Turkey Dr. Artemis Yagou Prof. Lin-Lin Chen AKTO Art and Design, Greece National Taiwan University of Science and Technology, Taiwan Prof. Nigel Cross Open University, UK Prof. Clive Dilnot Parsons The New School for Design, USA Design Research Quarterly is is a peer reviewed journal, published Dr. Troels Degn Johansson in January, April, July and October by the Design Research Society. Denmark’s Design School, Denmark Prof. Pekka Korvenmaa Design Research Quarterly and its contents are published under University of Art and Design, University of Art and Design, the Creative Commons Attribution - Noncommercial - NoDerivs 3.0 Finland License. < http://creativecommons.org/licenses/by-nc-nd/3.0/ > Prof. Kun-Pyo Lee You are free to Share—to copy, distribute and transmit the journal or Korea Advanced Institute of Science and Technology, Korea journal articles. Under the following conditions: Dr. Joao Lutz 1 Attribution UniverCidade, Brazil ee You must attribute work in the manner specified by the author or Prof. Sanjoy Mazumdar licensor (but not in any way that suggests that they endorse you University of California at Irvine, USA or your use of the work). Prof. Donald Norman 2 Noncommercial Nielsen Norman Group and Northwestern University, USA ee You may not use any part of this journal or work in it for com- Prof. Sharon Poggenpohl mercial purposes. Hong Kong Polytechnic University, China 3 No Derivative Works Prof. M.P. Ranjan ee You may not alter, transform, or build upon any part of this jour- National Institute of Design, India nal or work in it. Dr. Elizabeth B.-N. Sanders MakeTools, USA Prof. Marian Sauthoff Design Research Quarterly is archived on-line University of Pretoria, South Africa
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rules and layout—organization—are tools of communicators the configuration of physical elements in time and space and they are effective in determining how communications creates and alters meaning—that black hole at the center of are interpreted. communication design. It is tempting to take the view that communication design Communication design as intuited lacks scholarship because of such inherent issues, but the Lacking systematic ways to approach the field, communi- major causes may be closer to home, within the institutional cation design is viewed and taught as something ineffable, problems of communication design: its relation to technol- which is directly perceived or intuited by the viewer. If so, it ogy and what is steering it: design education. is as obdurate to analysis and empirical research as the fact that two plus two equals four. Design education in art schools Communication design is taught using a non-disciplinary, Many communication design educators complain about the atelier method. Design instructors teach using projects to lack of knowledge content in their field and sometimes, in present problems. Students learn by solving those problems. the narrowness of their own education, since many design Without an analytic understanding of how design works, educators are products of the same institutional system. solutions cannot actually be operationally described, only Much of the discontent centers on the functioning of pointed to. In addition, there are many different kinds of design programs within art schools and art departments solutions and approaches to problems, so different students in universities. learn different things. The instructor has limited control In the United States, at least, most communication design over the process and the outcome. The effectiveness of a programs are not in schools of communication, architecture solution is the primary criterion, and that is settled by con- or in freestanding schools of design, but within art depart- sensus, rather than the prototyping and testing used else- ments or art schools within universities. Communication where in design. design faculty complain about the subservience of design programs to the fine art programs and interests that govern Both scientifc and humanist those schools. The art school or art department environment Certainly, analysis of communication on the level of commu- does not allow design programs to develop into what they nication design is difficult, because communication design need to become. It literally colonizes and parasitizes com- crosses the borders of scientific and humanist paradigms: munication design for the benefit of other programs and im- scientific observation, causation, prediction and ultimate poses a “fine art” culture: first, by teaching foundation and control of outcomes, and humanist interpretation and ret- upper level design programs from a fine arts perspective; rospective understanding. Designers use physical attributes second, by using persons trained as artists to teach design of the communication to predictively determine or literally courses. In effect, communication design is deprived of con- “construct” the interpretations of others. This communica- trol over its own curriculum, pedagogy, and faculty. tive competence is fundamentally scientific and causal; it causes receivers to interpret the communication in specific Is design art? ways. At the same time, the term “interpretation” carries Designers see design as a distinct field with its own struc- with it the idea of the individual human, whose creative act ture, goals and professional culture. Art schools and depart- of interpreting intervenes between cause (the design) and ments tend to treat communication design not as a field in effect (its interpretation). The communication is what the itself, but as a specialization within studio art. If design is a receiver understands it to be and the receiver reacts on the specialization within studio art, then the use of art person- basis of that understanding. nel in design programs seems reasonable. Handling the contradiction between science and humani- The fine art approach has negative consequences for ties is at the heart of the problem of developing knowledge design students and for design as profession. In practice, of the process of designing communications. It means con- communication design is a distinct field with its own con- fronting that issue across a range of distinct fields from tent and professional culture. Artists work apart from the neural psychology to anthropology. By the same token, it everyday world while designers work in it. In contrast to the presents an immense open field of investigation into how artist’s interest in creativity and independence, designers are
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primarily concerned with the communicative competence of from their clients. It does not give them a background that their work, and they orient themselves toward the demands enables them to fully understand their clients or the content and needs of their clients and the public. It is important for that clients need to communicate. It is hard for example, to designers to understand their clients, not as outsiders but communicate financial statistics and heir significance with- as insiders. out understanding them. Fine arts are humanist in their outlook, often identify- This background tends to limit designers to areas such as ing themselves in contradistinction to the analytic traditions corporate identity, promotion and advertising. Other grow- of the sciences. Studio arts are essentially non-disciplinary. ing and competitive fields are disregarded. These include They depend on the development of artistic vision and skill public communication, business and technical communi- through practice and contemplation, not on theory and re- cation, knowledge management, and the larger sphere of search as they are recognized elsewhere. The studio art en- information in general. Clients often complain that design- vironment separates design students from the professional ers know how to make pretty communications but cannot cultures of their clients. Its distinctive, non-disciplinary pedagogy signals to students that they operate differently
Studio Fine Art Communication design Fine arts are largely visual or depictive: pictures of things or elements Communication design can be depictive but is characteristically symbolic that are visually experienced. and spatial. ee Design almost always includes text. ee Spatial arrangements do not paint pictures, but organize various materials and create linkages between them.
1. Fine art is most often single mode and visual (painting, sculpture 1. Outside of traditional print, much communication is multimode: often etc.). consisting of non-redundant visual and textual elements. 2. Text may function visually and aesthetically, but it is primarily meant 2. When text is used, it often functions as a visual element of aesthetic to be read. Reading disregards visual aesthetics to concentrate on the value. meaning of the text. 1. Fine art is largely media-centric, often media defined (painter, 1. Communication design is independent of medium. It is content and sculptor). user/situation oriented: choosing media according to the job. 2. It is taught according to medium (painting class, sculpture class). 2. Within art schools, design is often taught in a media-centric way, but can be taught in user/situation or content centric way.
Content and presentation are developed through the process of making. Content and method of presentation are planned before making.
The work is the goal of the process. The work is a means: ee The designer builds a prototype, not the end product. ee The final product is not an end but a strategy for communication, which can be weighed against alternative strategies.
Artist defines the content. Content is defined by client and end user.
The art work is asserted as an active mediator and participant, distinct Design is often most effective when it is transparent. It serves the from what it represents. content presented through its invisibility.
Art often provides ambiguities that challenge the viewer. The designer seeks clarity.
Artists lack systematic approaches to assessing how their works will be Designers need to be able to predict how their designs will be interpreted. For example, empirical research based in cognitive interpreted. psychology, social interaction, or other fields is not canonical.
Table 1: Nine contrasts between art and communication design
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Design Research Quarterly 3:2 Apr. 2008 – 4 – www.designresearchsociety.org The City of Sheffield has a long asso- 10 years has created a new and delight- ciation with design and the study of ful city centre, surrounding our uni- design. Sheffield Hallam University versity with enjoyable spaces as well as is one of the oldest design academies public artworks, galleries and cafes. It in the world, starting out as Sheffield is also a very friendly city. School of Design in 1843 and today it is home to an interdisciplinary teaching I look forward to welcoming you to our and research centre that brings togeth- city in the middle of next year’s Eng- Invitation er the different arts and sciences that lish summer. We will have serious make up the landscape of 21st century work to do but we also aim to create an The fourth conference in our current design. The city was once a watchword enjoyable occasion for you to make new series is an important opportunity to for heavy industrial production, with friendships and renew old ones—the take stock. We will be using it to reflect a dark utilitarian image to match, but real glue of any community. on and develop the way we run these today, partly through the influence of events as well as aiming to provide its designers and artists, it is a centre Chris Rust an important oversight of the state of for new cultural industries. Imagina- the art in research across the design- tive work on urban design over the past
4th Biennial Conference
ing disciplines. We will to pay equal attention to the quality of content and Rigour in emerging design disciplines and professions the quality of your experience at the conference.
The conference theme, attending to 16-19July, 2008 the new kinds of designing that are emerging to challenge our framework of specialisms and reshape our field, will provide some focus for keynote Sheffield Hallam University,UK speakers and debates and you may find that relevant to your own work. However this is the main conference Provisional schedule (consult site) for the whole of our society and we are open to all research that informs 2007 01 Sep Call for Papers or arises from designing. 15 Nov Deadline for abstracts You can find out more about the con- DeDec–Feb Abstracts accepted ference theme and other aspects of the 01 Apr Deadline for full papers event at the conference website at www.drs2008.designinquiry.wikispaces.net 01 May Authors notified where you can also join the confer- 01 Jun Deadline for corrected papers ence mail list to receive updates on the call for papers and the conference 16-19 July Conference arrangements. The call for papers will be announced on 1st September 2007.
http://drs2008.designinquiry.wikispaces.net
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communicate effectively, because they do not themselves next year, the student-to-faculty ratio in art education will understand what they are communicating, and they do not be 16-to-1. In studio art, it is 12-to-1. In design, the ratio is understand that they need to understand it. 37-to-1. In communication design, the ratio is 33-to-1. De- sign’s representation of four voting faculty is a small frac- Case Study: tion of studio art’s representation of thirteen. The school’s Here is a case study. It focuses on the design program administration has announced plans to replace some full within a National Association of Schools of Art and Design time faculty positions in design with term and part time (NASAD) accredited art school in a middle range research hires ‘from the community’, potentially reducing design’s university. The school has four programs: art history, art voting strength further. education, studio art, and design, which is made up of indus- Some of the reasons for this disparity are themselves tell- trial design and communication design. Art history and art ing. There are historic differences in class sizes and course education are considered academic, while design is catego- loads, which I will discuss later. The disparities also reflect rized with studio art. which faculty actually teach design students: the communi- As of spring, 2008, the school enrollment is 400 under- cation design program’s lack of control over its own peda- graduate students and about 50 graduate students. I will look gogy, instructors and curriculum. at only undergraduates, as they are by far the largest part of The role of the design program is reduced in two ways: the school, and because there are no graduate programs in by a heavy load of required courses that students can satisfy design. The school offers B.A. and B.F.A. degrees in fine art only outside of design offerings, and by the use of non-de- . Design students graduate with B.F.A. in fine art, with spe- sign personnel to teach design courses. cializations in communication design or industrial design. Curriculum Design students are required to take five courses within Program area Majors Voting Students to art history and effectively seven within studio art. Art his- faculty faculty tory courses include three semesters of art history, plus an art history elective, and design history and criticism, which Design 149 4 37-to-1 is taught not by a designer but by an art historian, from an Studio art 136 12 12-to-1 art history perspective. Studio art requirements include two foundation courses, drawing courses, computer art courses, Art education 31 2* 16-to-1 and one elective within studio art: all taught by non-design Art history 27 4 7-to-1 personnel who are not accountable to design faculty. These required courses benefit the other programs rather Unclassified 57 than communication design students. They are not geared toward communication design. They do not deal with de- * includes second member hired for 2008-2009 sign problems or design problem solving, and they do not Table 2: Enrollment, voting, and student faculty ratio by program focus on core design software as it is used by designers. At the same time, they occupy curricular space that could be Undergraduate enrollment in the school is as follows: devoted to courses that would be more valuable to commu- Design is the largest area in the school, with 149 stu- nication design, such as courses to teach design specific dents. Studio Art is second, with 136, of whom 99 are in computer competence and a reputable web/multimedia “general studio”, and 37 are in one of seven specializations: specialization. drawing, painting, printmaking, ceramics, sculpture, met- Design students do not generally need more than one re- als, and glass. Art Education has 31 majors and art history quired art history course, and many designers do not need has 27 majors. to draw figures, so they need not be effectively required to The contrast between relative enrollments in programs take multiple studio drawing courses. The relationship is and faculty representation—voting strength—of those pro- not reciprocal. Studio artists are not required to take design grams is striking (Table 2). The student to faculty ratio in courses, and no art courses are taught by designers. Where art history is 7-to-1, and with a new position approved for Continued p. 7 Q
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there are potential overlaps—courses that might be taken by time is variable according to whether the course uses tests or both studio art students and design students—those courses written papers, how many tests or papers are required and are taught by art faculty who are not accountable to the de- whether teaching assistants are used. sign program. Studio art classes are scheduled six hours per week. Lec- Required courses increase the faculty in the other pro- tures do not play a major role in these, and grading is gen- grams and increase their influence by virtue of their en- erally done in class, so the aggregate load is not far from larged faculty with its increased voting power and their the academic standard. There are exceptions, such as where command of resources. Design does not teach a broad range faculty maintain kilns or foundries. of classes, so most electives must be taken within studio art or art history. Course type Class hours Lecture Grading Electives that must be satisfied within studio art special- per week preparation izations can be used to counteract the problem of upper level Lecture/academic 3 yes variable, studio art courses with small enrollments. Upper level studio outside class art classes average about five students each (including design students). Two or even three courses are sometimes taught Studio art 6 minimal in class together in one class, as is routine in art schools. Design Comm. design 6 yes extensive, classes remain relatively constant, at or near twenty students outside class per class. In spring of 2008, the largest upper level class in communication design, a web design class, had 27 students, Table 3: Weekly per class hours and duties by type of class taught by one instructor without a teaching assistant. Programs with larger faculties have greater depth and Communication design classes are six hours per week, width of expertise. They can offer a larger variety and scope like studio art classes. Unlike studio art, communication of courses. They are better able to serve students and attract design requires regular lecture preparation, and frequent a larger pool of applicants. outside class grading and critiquing of projects, well in ex- Another aspect of the merging of design into fine art is cess of the grading required in academic courses. Teaching the use, in design, of part time design instructors who are assistants are not used in these classes. not credentialed in design either by degree or professional Two other factors need to be added: class sizes and teach- experience. In this communication design program, first ing ‘on overload’. Upper level (junior-senior) communication semester typography was taught this year by a part time design classes typically have fifteen to twenty students: three instructor who received an M.F.A. in printmaking from the to four times the size of comparable studio art classes. This school in 2007. increases grading time grading proportionally. Finally, design faculty supervise senior thesis students: a Course load, class size required course which is taught “on overload”: not included Course load—the number of classes a faculty member is in the official class load. The number of students supervised expected to teach and the time commitment it represents— by a faculty member ranges from two to ten. is also unequal in this school (table 3). This school is within a research university. Such universities usually have a stan- Research? dard teaching load of two courses per semester (2 and 2). Under this kind of system, research is impractical, regard- Elsewhere in the school faculty teach a 2 and 2, or a 2 and less of the importance of research to the university or to the 1 load, but the long standing course load within the design faculty member. A two course load, with required student program has been 2 and 3. This year, that load was reduced contact hours can easily be 30 hours per week or more, and to 2 and 2, but this still disadvantages design faculty en- a three course load is easily over 40 (table 4). gaged in research. With a two course load, research time is limited to an Lecture courses entail three in-class hours per week with average of 6 to 8 hours per week maximum, and with a lecture preparation and grading outside of class. Grading three course load, it is quite impossible. Given how design
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making, artistic aspects. With the increasing use of infor- Duties Two classes Three classes mation and ability to shape communicative experiences, the In-class hours 12 18 need for competent communicators will continue to grow. This level of communicative competence will require dis- Preparation hours 6* (12) 12* ciplinary knowledge for predicting how physical attributes Grading hours 6 9 affect the communication of meaning. It is a mistake to define communication design in terms Office/thesis hours 6 6 of its current limitations, which reflect its history. The re- Total teaching hours 30 hours 45 hours search opportunities remain open and present an oppor-
* assuming teaching two sections of one class and one section of the tunity to define and develop disciplinary knowledge for other, 12 and 18 hours if three different courses communication design, and for all design where commu- nication is involved. Conducting research requires building Table 4: Weekly teaching load in hours an institutional and programmatic setting that will enable research to be developed, as is done in other design fields. is taught—the classroom hours, lectures, and grading com- As it is, those who are interested in research, such as your bined with large class sizes—places design research at a editor, are opting to leave the field of design education to look clear disadvantage, even on a two courses per semester for research opportunities and support elsewhere. teaching load. The case in this study may show somewhat more distinct Peter Storkerson patterns than the average but it is not unusual. The admin- istrative head of communication design, who plays the lead- ing role in curriculum and staffing, is an artist rather than a designer. Tenure has not been awarded in this school to any communication design faculty in fifteen years. All five communication design faculty (including full time and part time) exited the program this spring. Still, the school is NA- Peter Storkerson SAD accredited. It was inspected in 2006. Many, if not most, Peter Storkerson received a PhD in design from the Institute of Design, Illinois of the elements found in this case study are repeated in other Institute of Technology. His research interests focus on the measurement and schools. They appear to be more often present than absent. analysis of interpretation, information design and philosophy of science for com- munication research. The future of communication design education and research The historical reasons for close relations between commu- He has taught communication design at Kansas City art Institute, The University at nication design and fine art are understandable. As late as Buffalo SUNY, and Southern Illinois University Carbondale. twenty years ago, the technologies used in design required hand skills and craft. Computers have transformed design and many other fields by incorporating skills in software. Communication design education has resisted adaptation to new and emerging needs in communication. It adopts new media reluctantly and approaches new media in the same ways as it has treated traditional media. As a result, communication design is in danger of being made obsolete just as portrait painting was made obsolete by photography in the nineteenth century, and photography has been made obsolete by digital cameras and has lost major industry sus- taining businesses such as portraiture, documentary pho- tography, and film processing. There is and will be an important role for communica- tion design, if it is ready, but that role will not be in the form
Design Research Quarterly 3:2 Apr. 2008 – 8 – www.designresearchsociety.org Current Research in Design Tables of Contents from Leading Design Journals
Architectural Design, 78:2 Material performance (34-41) Aggregates (80-87) Special Issue: Cities of Dispersion Michael Hensel, Defne Sunguroglu, Achim Michael Hensel, Achim Menges Mar.–Apr. 2008: Menges cc Michael Hensel and Achim Menges argue issn: 0003-8504 web link KK researching ‘the characteristics of wood in for a better understanding of the behav- order to explore how a material’s variable iour of … [aggregates] … in order that they Versatility and vicissitude: an introduction behaviour and its response to extrinsic can be used in their loose form … [requir- to performance in morpho-ecological stimuli might substantially contribute to ing] … a radical departure from architec- design (6-11) performance-oriented design’ tural design based on assemblies and Michael Hensel, Achim Menges assembly processes. cc Redefining the utilitarian debate on per- Manufacturing performance (42-47) formance by redefining form ‘as the multi- Achim Menges Environmental intensifiers (88-95) tude of effects, the milieu of conditions, cc Freeform construction, a collaborative Aleksandra Jaeschke modulations and microclimates that effort to develop construction-scale rapid KK developments in fibre-reinforced emanate from the exchange of an object manufacturing processes composite material with its specific environment-a dynamic Performance-orientated design precursors Engineering ecologies (96-101) relationship’ and performance as ‘the and potentials (48-53) Peter Trummer synthesis of this dynamic … making form Michael Hensel cc a shift from physics to biology as the and function less of a dualism and more of cc the potential of past approaches to pas- underlying paradigm of engineering … and a synergy that aspires to integral design sive environmental modulation as a re- with it a fundamental change in the way solutions and an alternative model for worked spatial paradigm for design that we conceive and practise architecture sustainability’ interrelates material, spatial and environ- Designing morpho-ecologies: versatility mental dynamics with dynamic patterns of Form, force and structure: a brief history and vicissitude of heterogeneous space habitation (12-19) (102-111) Remo Pedreschi Inclusive performance: efficiency versus Michael Hensel, Achim Menges c c The work of Robert Maillart, Pier Luigi effectiveness towards a morpho-ecological cc theoretical and methodological framework Nervi, Eduardo Torroja, Felix Candela, approach for design (54-63) for morpho-ecological design in architec- Heinz Isler and Eladio Dieste … illustrate Michael Hensel, Achim Menges ture, illustrating it further with two proj- the important changes and contributions cc morpho-ecological approach to design … ects that combine research and design that have taken place and how they influ- [challenging] … some of the most deeply Architectural Design 78:3 ence the way we think about performance entrenched dogmas of architecture as a Special Issue: Interior Atmospheres from an engineering point of view. material practice, such as the notion of May/June 2008 Form, force, performance: multi-parametric efficiency in design and construction issn: 0003-8504 web link structural design (20-25) Complex brick assemblies (64-73) In the mi(d)st of (6-11) Klaus Bollinger, Manfred Grohmann, Oliver Defne Sunguroglu Julieanna Preston Tessman cc current research on ‘brick … [as] … a c cc The first thing that the term atmosphere c challenging the ‘20th century classifica- material with unlimited possibilities, evokes is in the air, the intangibility of air. tion of structures according to defined almost completely ignored by modern … a sort of fragrance or warmth. building typologies [that] was central to technology’ engineering design’ Atmosphere is created by the particular Membrane spaces (74-79) subject matter or place [corresponding] to Metabolism and morphology (26-33) Michael Hensel, Achim Menges it like a sort of spirit … revealing, betraying Michael Weinstock KK Developing membrane structures: ‘the a certain essence of the place or subject c c an account of the dynamics of natural findings of a series of membrane-research matter, but remaining ever visible. metabolisms … [suggesting] … an agenda studios’ for the development of metabolic mor- phologies of buildings and cities
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This is not entertainment: experiencing the Condensation: regionalism and the room in Artists of the floating world: SANNA, dream house (12-15) John Yeon’s Watzek House (54-59) Niedermayr and the construction of Ted Krueger Maty Anne Beecher atmosphere (92-95) cc Dream House dwells upon a physical cc the local landscape and history figure as Hugh Campbell interaction between bodily movement and condensed renditions within rooms, sur- cc the mutually collaborative spatial qualities synthesised frequencies to prompt a faces and details … interior atmosphere evoked in the photographic works of variable sound spectrum and a specific developed as identity within a specific Walter Niedermayr and the architecture of interior atmosphere. cultural and geographical context Kazuyo Sejima and Ryue Nishizawa of Tokyo-based practice SANAA Making sense: the MIX house (16-19) Bridging the threshold of interior and Joel Sanders, Karen Van Lengen landscape: an interview with Petra Blaisse AD+ interior eye cc [infusing] a speculative domestic environ- (64-71) SANAA’s New Museum of Contemporary ment with digital audio technology. Lois Weinthal Art, New York (98-101) cc As curtains and floor coverings furnish Jayne Merkel Domestic afterlives: Rachel Whiteread’s programmatically organised interior cc producing a museum building in New ghost (26-29) environments, they reflect larger spatial York’s Bowery area ‘that is both rough and Rachel Carley and historic contexts to demonstrate a ready and beyond the fray’ cc the role that the plaster-casting process confluence of micro and macro scales. makes towards visualising the invisible. … AD+ building profile the vestigial traces of a room’s surface … Off the peg: the bespoke interiors of Ben Watford Music Centre (102 – 105) as a solid volume capable of depleting Kelly (72-77) David Littlefield light and heat from the space Graeme Brooker, Sally Stone cc how Tim Ronalds – the architect of the cc interior designer Ben Kelly … about the much-loved, restored Hackney Empire in Olafur Eliasson and the circulation of ideas and intentions behind his work London and the Landmark theatre in affects and percepts: in conversation Ilfracombe, Devon (30-35) Living with Freud (78-81) Hélène Frichot Lilian Chee AD+ practice profile cc the depths to which his work mobilises cc several art installations … the ability of Arup Associates (106 – 111) atmosphere as an agent of human experi- objects to charge interior atmospheres Jay Merrick ence and social action, prompting a sub- with provocations of gender, modernity, cc an interdisciplinary approach that the jective transformation ethnicity, objectivity and domesticity practice pioneered in the 1960s, and which has been reinvigorated in the last Affecting data (36-45) Spatial hardware and software (82-87) few years by a new emphasis on unified Julieanna Preston Rochus Urban Hinkel design – a radical wholeness in thinking cc an intellectual and industrial investment cc the reciprocity of ‘spatial hardware’ and and execution. into the exchange between data (the ‘spatial software’ to create interior means of communication as well as in- atmosphere AD+ unit factor forming content) and the affect of its Can architectural design be research? The atmosphere of interior urbanism: OMA instrumentality (112-115) at IIT (88-91) Michael Weinstock Multivalent performance in the work of Charles Rice cc the possibilities of architects undertaking Lewis.Tsurumaki.Lewis (46-53) cc The Office for Metropolitan Architecture’s research in practice Paul Lewis, Marc Tsurumaki, David J Lewis IIT building in Chicago … refiguring the cc a practice of reconceptualising interior field via the deployment of complex spa- space as a site of innovative material tial planning surfaces assembled from the repetition of readily available elements
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AD+ Spiller’s bits The effect of representation of triggers on The designer’s role in facilitating sustain- Architects as hairdressers (116-117) design outcomes (101-116) able solutions (72–83) Neil Spiller Prabir Sarkar, Amaresh Chakrabarti Daniel Christian Wahl, Seaton Baxter cc a grumpy old man as he observes the ee creativity · design representation · Book reviews: emergence of an alarming new trend in multimodal · trigger A Review Essay architecture schools that prioritises style Analogical recognition of shape and GGJosef Müller-Brockmann. Kerry William over matter structure in design drawings (117-128) Purcell; AD+ Yeang’s Eco-Files Patrick W. Yaner, Ashok K. Goel GGSwiss graphic design: the origins and Biofuel from algae (118-119) ee analogical reasoning · case-based growth of an international style, Ken Yeang reasoning · design · diagrammatic 1920–1965. Richard Hollis; cc the potential of mass algae production as reasoning · drawings · visual reasoning GGFormat. Gavin Ambrose, Paul Harris; a source of biofuel GGLayout. Gavin Ambrose, Paul Harris A grammar-based multiagent system in Michael J. Golec AD+ McLean’s Nuggets (120-121) dynamic design (129-145) Will McLean Grażyna Ślusarczyk Eating architecture. Jamie Horwitz, ee self-organisation and environmental ee computer-aided design · graph grammar · Paulette Singley improvisation · glassless society · JD multiagent system Victoria Solan Bernal’s the Social Function of Science · A review of function modeling: Approaches Design in the USA. Jeffrey L. Meikle, science is the service of man and applications (147-169) Rachel Delphia AD+ Userscape Pages M.S. Erden, H. Komoto, T.J. van Beek, V. The prefabricated home. Colin Davies Space on earth: a virtual portal between D’Amelio, E. Echavarria, T. Tomiyama Kimberly Elman Zarecor the earth and outer space (122-125) ee behavior · design · function modeling · Valentina Croci maintenance · service Christopher Alexander: A review essay cc how MIT and Positium LBS with the G Design Issues: 24:2 TheG nature of order: an essay on the art of University of Tartu have been developing Spring 2008 building and the nature of the universe projects that enable us to sense the city, issn: 0747-9360 web link KKv. 1: The Phenomenon of life dynamically mapping social movement KKv. 2: The process of creating life Design Thinking and the Experience of Artificial Intelligence for Ritu Bhatt, Julie Brand Innovation (3-14) Engineering Design, Analysis and Barry Wylant The Design Journal: Manufacturing: 21:2 Design Relocated to Berg Publishers Computing and Cognition The ‘advance’ of American postwar design Projected articles, 2008 Mar. 2008 in Europe: MoMA and the Design for Use, issn: 1460-6925 web link issn: 0890-0604 Web Link USA Exhibition 1951–1953 (15–27) Gay McDonald Ergonomic design intervention in manual Multimodal design: An overview (83-84) incense sticks manufacturing Ashok K. Goel, Randall Davis, John S. Gero Surprise as a design strategy (28–38) Prabir Mukhopadhyay, Soumyajit Ghosal Geke D.S. Ludden, Hendrik N.J. Schifferstein, Modality and representation in analogy Paul Hekkert Perception and deception: how quantity (85-100) and quality of sensory information affect J.S. Linsey, K.L. Wood, A.B. Markman ‘Arabizi’: a contemporary style of Arabic users’ perception of office chairs ee analogy; cognitive models; idea slang (39–52) Alexander de Rouvray, Jean-François generation; innovation; psychology of Mohammad Ali Yaghan Bassereau, Jean-Séraphim Schneider, Robert design Duchamp, Sylvie Charbonneau Stanley Morison’s Aldine hypothesis Revisited (53–71) Kay Amert
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The value of knowledge transfer collabora- Insights at the nexus of design and Design Philosophy Papers, 3-4 2007 tions to design academics business success ISSN 1448-7136 web link Anthony Crabbe Thomas Walton What is so sustainable about services? the Following Will’ O’ The Wisps and chasing Managing the evolution of Microsoft’s truth in service & flow ghosts: design-centred research, sustain- hardware business Carleton B. Christensen ability and the bottom line Andy Cargile cc [contrasting] … the original, common- Stuart Walker Measuring the future brand effect of sense reasoning which makes the idea of a Tools facilitating multisensory product graphic design service economy seem plausible in the design Gert L. Kootstra first place with the way it has typically N.J. Hendrick, Pieter Schifferstein, M.A. KK using five criteria ‘to quantify the brand been elaborated in the literature.’ Desmet impact of specific designs’ The existential self as locus of sustainabil- A theoretic framework of factors influenc- The (ir)relevance of technology: creating a ity in design ing fashion design in Hong Kong culture of opportunity by design Philippe d’Anjou Joe S. Au, Andrew L. Tam, Gail Taylor Anthony Pannozzo Congestion & movement: cities, crowds & ee ‘ … The biggest contribution to the bottom National design strategies and country Chandigarh line is a keen understanding of consumer competitive economic advantage Michael Chapman and Steffen Lehmann opportunities coupled with the Gisele Raulik, Gavin Cawood, Povl Larsen management of design and technology to Sustainable mobility services in Kolkata Design Management Review, 18:4 innovatively fulfill those opportunities.’ Sukanta Biswas The State of Design Management The best strategy is the right strategy Review: Education Sohrab Vossoughi Vital Nourishment: Departing from Fall 2007 e Happiness. François Jullien. Arthur issn: 1460-6925 web link e achieving consistency through ‘a pyramid of rational steps’ Goldhammer tr. Design methodology as a migration from Tony Fry Transforming into Dell 2.0: the customer’s analytic methodology strategic role in design innovation Design Studies, 29:2 Darius Mahdjoubi Kristina Goodrich Apr. 2008 KK ‘ … Design’s value lies in its integrative issn: 0142-694x web link cc‘where Dell is headed today as it blends an perspective.’ awareness of marketplace realities with a Digital architecture as a challenge for Design strategies for technology adoption nuanced assessment of user preferences’ design pedagogy: theory, knowledge, Alonzo Canada, Pete Mortensen, Dev Patnaik Visual thinking: a leadership strategy models and medium (99-120) KK a framework for uniting innovation and Mark Dziersk Rivka Oxman success in the marketplace K cc‘Dziersk urges designers to communicate K An experimental design studio on: ‘Design Design value: a framework for with those responsible for strategy by as research: the exploration of digital measurement taking advantage of their talent for visual- architectural concepts’ is presented as a Thomas L. Lockwood ization and storytelling, “languages” that pedagogical framework for educating the KK ten categories on the basis of which can powerfully convey content … ’ digital architect and a series of research ‘return on investments in design’ can be and design programs carried out in an What does it mean to be design-led? measured experimental design studio demonstrates Michael Beverland and Francis Farrell, this framework. Innovation in organizations in crisis KK four qualities with implications for Todd Cherkasky, Adrian Slobin managers KK innovation as a disciplined process and the catalysts and capabilities that support it
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The ideation gap: hybrid tools, design flow Information Design Journal, 16:1, International Journal of Art and and practice (121-141) Special Issue: Discourse, Design Education Tomás Dorta, Edgar Pérez, Annemarie Lesage Cognition and Communication 27:1, Feb. 2008 KK responding to designers’ needs for better 2008 issn: 1476-8062 0260-9991 web link computer interfaces ‘by augmenting issn: 0142-5471 web link analog tools with digital capabilities The necessity of studio art as a site and respecting the designer’s needs for The metapragmatics of remediated text source for dissertation research (4-18) uninterrupted reflective conversation with design Kristin Baxter, Hugo Ortega López, Dan Serig, the representation that should, in turn, Volker J. Eisenlauer, Christian R. Hoffmann Graeme Sullivan ee art – study & teaching; research; art – enrich ideation’ Problems in the Field: Instructions on how provenance; art – philosophy; artists’ to resolve conflicts in the workplace Using visual representation of concepts to studios; art – research explore users and designers’ concepts of Gillian Harvey cc‘Three accounts of dissertation research everyday products (142-159) Rhetoric in advertising: attitudes towards are given that incorporate studio activity Marianella Chamorro-Koc, Vesna Popovic, verbo-pictorial rhetorical figures as a central agency of inquiry in conceptu- Michael Emmison Renske van Enschot, Hans Hoeken, Margot alising and theorising issues.’ cc investigating the influence of human van Mulken experience on users’ and designers’ differ- Navigating a way through plurality and Research challenges: research challenges ing concepts of products social responsibility (19-26) in narrative persuasion David A. Gall Describing the creative design process by Melanie C. Green ee cultural identity; multicultural education; the integration of engineering design and teaching methods; diversity in education; cognitive psychology literature (160-180) User centred information design practices art in education T.J. Howard, S.J. Culley, E. Dekonincka and processes at the Australian taxation office KK a ‘creative design process’ … based on an A (con)text for new discourse as semiotic Nigel Martin, Shirley Gregor, John Rice integration between a modernised praxis (27-42) consensus view of both the design process Review: Marie Fulkova; Teresa M. Tipton from engineering design and the creative Flow: the psychology of optimal experience. ee art; modern– 21st century educational process from cognitive psychology. Mihalyi Csikszentmihalyi technology; art– study & teaching; research; art teachers; digital media; Exploring key discriminators of progres- Dev Kumar Bose congresses sion: relationships between attitude, Review: meta-cognition and performance of novice The Cambridge handbook of multimedia From obstacle to growth: Dewey’s legacy of designers at a time of transition (181-201) learning. Richard E. Mayer (ed.) experience-based art education (43-52) Susan V. McLaren, Kay Stables Caroline Pelletier Eva Van Moer; Tom De Mette; Willem Elias cc a brief outline of a research study involv- ee critical thinking; museum visitors; ing 10-13 years old learners undertaking an Business discourse Francesca Bargiela- museums – educational aspects; visual ‘unpickled’ design portfolio .…[illustrating] Chiappini, Catherine Nickerson, Brigitte education; people: John Dewey – views on the inter-relationship of progression in Planken. in research and practice in applied education designing and creativity … [that] has linguistics. Christopher N. Candlin and significance for pedagogy and sustainable David R. Hall (eds). assessment which extends beyond school Kaija Pelsmaekers into higher education
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A visual culture art education curriculum International Journal of Design Design Case Studies for early childhood teacher education: 2:1, Apr. 2008 Perceptual Information for User-Product re-constructing the family album (53-62) issn: 1991-3761 web link Interaction: Using Vacuum Cleaner as Laura Traf Example ee art – study & teaching; research; curricu- Three-in-One User Study for Focused Li-Hao Chen , Chang-Franw Lee lum planning; art teachers – training of; Collaboration cc [a study] ‘to identify which product de- nostalgia in art; teaches – psychology Turkka Kalervo Keinonen, Vesa Jääskö, Tuuli signs for parts and directions are most Mattelmäki effective, and then propose how percep- Gestalt: a learning theory for graphic c c a human-centered design approach, the tional information could best be designed design education (63-69) Three-in-One User Study, which applies a to facilitate user-product interaction’ Ian Jackson set of methods to speed up and focus on ee experiential learning; gestalt psychology; the design process Perspectives graphic arts – study & teaching; design – The Nature of Design Practice and study & teaching; learning ability The Product Ecology: Understanding Social Implications for Interaction Design Product Use and Supporting Design Research The use of projective drawings to deter- Culture Erik Stolterman mine visual themes in young Kuwaiti Jodi Forlizzi cc Science is not the best place to look for women impacted by the Iraqi invasion c c product ecology as a theoretical design approaches and methods on how to (70-82) framework to describe how products approach design complexity.… Any at- Yvonne Pepin-Wakefield evoke social behavior, to provide a road tempt by interaction design research to ee art therapy; research; art – themes; map for choosing appropriate qualitative produce outcomes aimed at supporting motives; projective techniques; psychic research methods and to extend design design practice must be grounded in a trauma; women artists – study & teaching culture within HCI by allowing for flexible, fundamental understanding of the nature Craft-Art as a Basis for Human Activity design-centered research planning and of design practice. (83-90) opportunity-seeking International Journal of Seija Karppinen Design, Risk and New Product Technology and Design Education ee art – study & teaching; research; Development in Five Small Creative 18:2, Apr. 2008 education; humanistic; art – philosophy; Companies issn: 0957-7572 web link multicultural education – activity Robert N. Jerrard , Nick Barnes , Adele Reid programs; handicraft – study & teaching cc Five small creative companies were stud- Design-without-make: challenging the conventional approach to teaching and The intertextual method for art education ied in detail over extended periods of the learning in a design and technology applied in Japanese paper theatre –a study New Product Development (NPD) classroom (119-138) on discovering intercultural differences lifecycle. David M. Barlex, Donna Trebell (p91-104) How to Rate 100 Visual Stimuli Efficiently KK [Investigating] the use of a design- Martina Paatela-Nieminen Yaliang Chuang , Lin-Lin Chen without-make unit as part of the design ee multicultural education; art – study & c c Two computer-based methods are pro- and technology curriculum with pupils teaching culture in art; kamishibai in posed for obtaining attribute rating data, aged 14 education; Japanese paper based on multiple attribute scales, for a Perspectives on pupil creativity in design Review: large number of visual stimuli: the hierar- and technology in the lower secondary Making a difference: global citizenship in chical sorting method [and] … the divide- curriculum in England (139-165) initial teacher training (book). B. Baughen, M. and-conquer method. Baughen, M. Glackin, G. Hopper, S. Inman Marion Rutland, David Barlex cc‘to what extent can teachers influence the creativity of pupils aged 11–14 years in design and technology lessons?’
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Exploring perceptions and attitudes Analytic network process-based model for Journal of Engineering design towards teaching and learning manual selecting an optimal product design 19:2 Apr. 2008 technical drawing in a digital age (167-188) solution with zero-one goal programming issn: 0954-4828 web link Susan Valerie McLaren (15-44) cc [Examining] the place of manual technical Wan-Li Wei, Wen-Chih Chang Predicting the whole-life cost of a product drawing in the 21st century by discussing cc a systematic methodology that integrates at the conceptual design stage (99-112) the perceived value and relevance of analytic network process (ANP) and L. B. Newnes, A. R. Mileham, W. M. Cheung, teaching school students how to draw zero-one goal programming (ZOGP) in R. Marsh, J. D. Lanham, M. E Saravi, R. W. using traditional instruments, in a world order to select an optimal product design Bradbery c of computer aided drafting (CAD). solution. c modelling research, industrial approaches and commercial systems and how these Program equity issues in schooling: The Rapid preliminary helmet shell design relate to whole-life cost estimating testimony of technology teachers (189-201) based on three-dimensional anthropomet- Ronald Edward Hansen ric head data (45-54) Cost-based producibility assessment: cc [A] narrative inquiry research sets the Hong Liu, Zhizhong Li, Li Zheng analysis and synthesis approaches through stage for a critical analysis of our reliance cc a rapid preliminary design method for the design automation (p113-130) on knowledge versus experience in west- helmet shell and a corresponding toolkit… Elgh, Fredrik; Cederfeldt, Mikael c ern education policy and planning. taking advantage of three-dimensional c a system for automated producibility (3D) anthropometric head scans assessment…[that]… can reflect… , chang- An exploratory study on the perspectives of es in customer requirements, design prospective computer teachers following Analysis of marginal cost of durability and features and parameters, and production project-based learning (203-215) cost per day: a first step towards a rational properties Selcuk Karaman, Suat Celik choice of durability (55-74) cc a study investigating “perceptions of 29 Joseph H. Saleh Incorporating cost analysis in a multi- prospective teachers about a course based cc the case that the analysis of the marginal disciplinary design environment for aircraft on Project-Based Learning (PBL) ap- cost of durability is a pre-requisite for movables (31-144) proach”, indicating that “PBL approach addressing the durability choice problem A. H. Van Der Laan, M. J. L. Van Tooren c can be successfully implemented in com- c a design support framework … that offers puter related courses such as program- improved information and knowledge Covariance structural models of the ming language and web designing” about new designs in an early stage of the relationship between the design and development Journal of Engineering design customer domains (75-95) 19:1 Feb. 2008 Marin Guenov Comparing the cognitive actions of design issn: 0954-4828 web link cc covariance structural equation model, engineers and cost estimators (145-158) which incorporates a confirmatory and a Oliver Houseman, Fiona Coley, Rajkumar Roy A comparative study on quality design of c structural component…for the decomposi- c a study comparing the cognitive actions of fixture planning for sheet metal assembly tion of the qualitative customer needs, designers and professional cost (1-13) modelled as latent variables, onto a gener- estimators Li Bing, Hu Ying, Tang Hui, Yu Hongjian, Hu ally larger number of measurable technical Hong Proposal for tool-based method of product requirements…[to map]… the technical cc…three quality design models of a non-lin- cost estimation during conceptual design requirements to design parameters ear programming model, a polynomial (159-172) response surface methodology (RSM) and M. Mauchand, A. Siadat, A. Bernard, A. Perry c a neural network (NN)-enhanced RSM … c tool … to assist the designer in the pro- for fixture planning of a sheet metal cess of manufacturing cost calculation of assembly with resistance spot weld a product that is defined by little and inaccurate information in the preliminary design
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Tolerance elements: an alternative mation about the product and the organi- Only a sudden flaming word (76-81) approach for cost optimum tolerance zational marketing and engineering Blair Brennan transfer (173-184) competencies Subverting a Caribbean ‘natural history’ Sotiria Ch. Dimitrellou, Stefanos C. Diplaris, Improved tennis ball design: incorporating (82-85) Michael M. Sfantsikopoulos, mechanical and psychological influences Joscelyn Gardner cc a method for cost optimum conversion of (269-284) functional tolerances into machining A writer’s manual (86-89) Carolyn Steele, Roy Jones, Paul Leaney, tolerances transferred to one or more Barbara Balfour cc a design methodology to relate measur- datum reference frames able performance properties to player-per- All music aspires to the condition of image Journal of Engineering design ceived performance, feel, and aesthetics (90-93) 19:3 Jun. 2008 David Merritt issn: 0954-4828 web link New product development ‘according to Hoyle’: part 1 - the analogy (285-298) Excerpts form the Drawn Like Money series The Transdisciplinary Product Development E. A. Appleton, T. D. Short (94-97) Lifecycle model (185-200) cc an analogy between the new product Patrick Mahon Gumus, Bulent; Ertas, Atila; Tate, Derrick; design process and a pack/game of Turning, turner, turned (98-101) Cicek, Ismail cards…a ‘team-based’ methodology David Scott Armstrong cc a new product development lifecycle for learning the analogy, and … a model, ,…based on the axiomatic design number of developments of the anal- Revelation series (102-108) (AD) method developed by Suh…inherits ogy that can be used for furthering Micah Lexier the benefits of applying AD to product the understanding of the new prod- development. uct design process Qualitative modelling of potential failures: Visible Language 42:1, 2008 on evaluation of conceptual design Special Issue: (201-225) After the Grave: Language and Micael Derelöv materiality in contemporary Art cc [Strengthening early] …evaluation method- David Scott Armstrong, Patrick Mahon ology by examining the possibilities to (eds.) identify potential problems within concep- issn: 0022-2224 web link tual solutions, and to develop a means After the Grave: Language and materiality that facilitates the evaluation… in contemporary Art (4-13) A multi-criteria parametric evaluation of David Scott Armstrong, Patrick Mahon the refuelling strategies for scooters Sfumato or print: like a vanishing point (227-247) grown over by its picture plane (14-27) Tseng-Ti Fu. David Scott Armstrong cc A framework of whole-life cost/benefit parametric evaluation from the user’s Xu Bing, Ed Pi En and Gu Xiong: lost and point of view…for the selection of the best found in translation (28-43) refuelling strategy for electric scooters. Patrick Mahon Managing product quality, risk, and After the death of film: writing the natural resources through resource quality function world in the digital age (44-69) deployment (249-267) Tes Takahashi Yoram Reich, Amir Paz Artists’ projects cc new method that, based on a mathemati- “Image and Text” (70-75) cal programming extension of quality Jeannie Thib function deployment, uses detailed infor-
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