2024-03-29T14:12:18Z
https://scholarworks.iu.edu/journals/index.php/artifact/oai
oai:ojs.scholarworks.iu.edu:article/5124
2017-05-16T22:05:20Z
artifact:CONCEPT
v2
https://scholarworks.iu.edu/journals/index.php/artifact/article/view/5124
2017-05-16T22:05:20Z
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Vol. 3 No. 4 (2015): The Design Concept; 7.1-7.8
The Overdesigned and the Undesigned – Placemaking in New Residential Complexes
Stender, Marie; Royal Danish Academy of Fine Arts, School of Design
2015-07-28
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License
url:https://scholarworks.iu.edu/journals/index.php/artifact/article/view/5124
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This article focuses on the paradox, that places on the one hand are increasingly regarded as something that can be designed, while these designed places on the other hand also seem to hold a remarkable longing for that which is not designed. When architecture and landscape is shaped, various steps are taken to shape the identity, life and story of the new places. Inherent in contemporary concepts like urban design, city branding and placemaking is thus the assumption that we can – and should – design not only our material surroundings but also the more immaterial social and cultural aspects that constitute a place. In her book “Brandscapes” Anna Klingman argues that in the experience economy the focus of architecture has evolved from ”what is has” and ”what it does” to ”what you feel” and ”who you are” (Klingman 2007). But by what means and to what extend is it possible to design how we feel and who we are? This article addresses these questions by focusing on how place is designed when new residential buildings and neighbourhoods are given shape and taken into use.
oai:ojs.scholarworks.iu.edu:article/5137
2017-05-16T22:05:17Z
artifact:CONCEPT
v2
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2017-05-16T22:05:17Z
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Vol. 3 No. 4 (2015): The Design Concept; 4.1-4.7
The Effect of Design: A Phenomenological Contribution to the Quiddity of Design Presented in Geometrical Order
Vial, Stéphane; Associate Professor of Design Studies, University of Nîmes. Researcher at the ACTE Institute, Sorbonne Paris 1 University
2015-01-27
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License
url:https://scholarworks.iu.edu/journals/index.php/artifact/article/view/5137
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This paper suggests defining three criteria to differentiate design and non-design, using the concept of effect in a phenomenological perspective. The central concept of this article is the concept of “effect of design,” defined as a three-dimensional result that occurs through usage and turns it into an “experience-to-live.” The three dimensions of the effect of design are the “ontophanic effect,” the “callimorphic effect” and the “socioplastic effect.” This approach is presented in the form of a philosophical manifesto in the geometrical style inspired by Spinoza’s Ethics. This article includes 1 general overview of the issue, 5 definitions, 3 axioms, 3 hypotheses and 3 developments.
oai:ojs.scholarworks.iu.edu:article/6199
2017-05-16T22:05:19Z
artifact:CONCEPT
v2
https://scholarworks.iu.edu/journals/index.php/artifact/article/view/6199
2017-05-16T22:05:19Z
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Vol. 3 No. 4 (2015): The Design Concept; 8.1-8.8
The Design Process Seen Through the Eyes of a Type Designer
Beier, Sofie; Royal Danish Academy of Fine Arts, School of Design
2015-07-16
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License
url:https://scholarworks.iu.edu/journals/index.php/artifact/article/view/6199
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Through a historical overview of the influence designing had on the early days of printing, the paper finds the English printer and typefounder John Baskerville (1706-1775) to be the first real known type designer. Based on this assumption, the paper presents a model for how a contemporary design process is carried out, and reflects upon the relationship between this and the way Baskerville might have worked in the development of his historical innovating typeface style.
oai:ojs.scholarworks.iu.edu:article/6200
2017-05-16T22:05:18Z
artifact:CONCEPT
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https://scholarworks.iu.edu/journals/index.php/artifact/article/view/6200
2017-05-16T22:05:18Z
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Vol. 3 No. 4 (2015): The Design Concept; 6.1-6.10
Can Anyone Be a Designer? Amateurs in Fashion Culture
Holt, Fabian; Roskilde University, Department of Communication, Business and Information Technologies
Mackinney-Valentin, Maria; Royal Danish Academy of Fine Arts, School of Design
2015-07-16
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License
url:https://scholarworks.iu.edu/journals/index.php/artifact/article/view/6200
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This article offers an analytical perspective on the implications of recent media evolutions for the conventional roles of the designer, with a particular emphasis on the changing relation between amateur and professional design in fashion culture. The article builds on the recent media studies literature on the intensification of media communications in the early 21st century and how it involves deeper transformations — mediatizations — of many areas in business and society. There are already extensive literatures on the mediatization of finance, politics, food, and religion, for instance, but how is the process playing out in fashion? And what are the implications of this process for designers and design education? The article argues that media have become a key context for understanding the changing dynamics between professionals and amateurs and the evolution of more distributed forms of design creativity. The article is a conceptual paper that begins by situating the evolution of amateur design in theories of media and modernity to offer a contemporary theorization of amateur design and to establish an analytical perspective from which core aspects of the changing amateur/industry divide are illustrated through influential examples in the analytical sections of the article. Among the examples are the online platform Etsy and T-shirt company Threadless. The conclusion puts the findings of the case studies into perspective and points to a future where new generations of designers and design educators approach and strategically manage these new relationships and distributed forms of creativity.
oai:ojs.scholarworks.iu.edu:article/9468
2017-05-16T22:05:20Z
artifact:CONCEPT
v2
https://scholarworks.iu.edu/journals/index.php/artifact/article/view/9468
2017-05-16T22:05:20Z
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Vol. 3 No. 4 (2015): The Design Concept; 5.1-5.18
Prototyping a Useless Design Practice: What, Why & How?
Rosenbak, Søren; Umeå Institute of Design - Umeå University
2015-07-28
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License
url:https://scholarworks.iu.edu/journals/index.php/artifact/article/view/9468
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This essay sets out to rectify the false dichotomy between the notions of uselessness and usefulness in relation to design, in order to argue for a useless design practice. The argument is structured into three main parts.Part I opens with an introduction and goes on to frame design as a hybrid discipline that has been characterized by usefulness since it was born of the Industrial Revolution. The notion of useful design and its continuingly intimate relationship with the neoliberalist growth economy is subsequently unpacked through scrutinizing the basic demands for quantification & acceleration, conflicting use and temporality with special attention paid to the Anthropocene.Part II elucidates the ambiguous relationship between the useless and the useful through the related critical/conformist dichotomy present in Dunne & Raby’s A/B Manifesto as well as through useless and useful design fictions. From here the unuseless chindōgu by Kawakeni and the unfindable objects by Carelman together frame the useless as a “useful overdrive.” Additionally they illustrate the constant risk of assimilation, festishization and spectacle that disruptive useless design artifacts face within the neoliberalist growth economy. In the digital realm The Useless Web accentuate the post-ironic and absurd qualities in useless design.Part III asks: what is useless design, why do we need useless design and how could useless design exist? From five opening propositions, useless design is positioned among related concepts such as Redström’s “design after design” (2011), Hunt’s “tactical formlessness” (2003), Tonkinwise’s “designing things that are not finished” (2005), and Jones’ “pure design” (1984). Useless design is finally argued to find its value from its ability to valuate and actively traverse the growing chasm between the industrial and the post-industrial design paradigm.In essence useless design is an invitation to make useful, here “useful” understood in reappropriated terms, beyond its currently one dimensional, confined state. On that note, the essay concludes by shifting its gaze from the abstract insights gathered throughout the essay towards the concrete urgent task of prototyping a useless design practice.
oai:ojs.scholarworks.iu.edu:article/12787
2017-05-16T22:05:22Z
artifact:CONCEPT
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https://scholarworks.iu.edu/journals/index.php/artifact/article/view/12787
2017-05-16T22:05:22Z
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Vol. 3 No. 4 (2015): The Design Concept; 2.1-2.7
Design Without Final Goals: Getting Around Our Bounded Rationality
Chua, Jude; Nanyang Technological University, Singapore
2015-07-28
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License
url:https://scholarworks.iu.edu/journals/index.php/artifact/article/view/12787
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Herbert Simon’s theory of design welcomes those unintended consequences of one’s original design intention, with a view to integrating them as new final goals of one’s design. Seen this way, design and design education has the powerful potential to broaden human preferences and unconceal new cultures, like a kind of liberal education. The basis of such an account of design is in the recognition of our rationality’s boundedness and with that, the need to search for what we cannot too easily know – an idea for which he acknowledges a depth to James March. Indeed, March’s own writings instantiate the same insight that we need to find strategic ways of exploring and searching for ideas that we are often blind to because of our cognitive limitations. Yet Simon’s attentiveness to bounded rationality and the need for searching discovery is equally, if not more, indebted to Ludwig von Mises and F A Hayek. Hayek’s ideas critical of Cartesian constructivism and the need to appreciate institutions such as the free market which are the result of human action rather than design parallels many aspects of Simon’s theory of design without final goals. All three thinkers, Simon, March and Hayek, were painfully cognizant of the fact that human beings are not as smart as they think they are, and that we had to design strategies for outsmarting ourselves.
oai:ojs.scholarworks.iu.edu:article/12812
2017-05-16T22:05:24Z
artifact:CONCEPT
v2
https://scholarworks.iu.edu/journals/index.php/artifact/article/view/12812
2017-05-16T22:05:24Z
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Vol. 3 No. 4 (2015): The Design Concept; 9.1-9.10
Shaping Dreams: Design Ideas and Design Fiction in Movie and Television Production Design
Wille, Jakob Ion; The Royal Danish Academy of Fine Arts, School of Design
2015-08-24
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License
url:https://scholarworks.iu.edu/journals/index.php/artifact/article/view/12812
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The aim of this article is to show how the design process influences the planning and development of moving images, i.e., live-action movies, animation, and television. The paper documents the significance of design in the early stages of film and television production and shows how industry practitioners value the contribution of designers in developing the narrative through visual support. The paper suggests a comparison of design and screenplay research and analysis. In addition, it touches on the subject of design fiction in the case of a project involving collaboration of production design students from The Royal Danish Academy of Fine Arts, School of Design, and screenwriting and producer students from The National Film School of Denmark. Finally, this article provides insight into one of the newer trans-disciplinary developments in design, namely the cross-pollination taking place between the fields of design research and film research. As a result, the paper contributes to our understanding of the expanding concept of design.
oai:ojs.scholarworks.iu.edu:article/12815
2017-05-16T22:05:23Z
artifact:CONCEPT
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2017-05-16T22:05:23Z
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Vol. 3 No. 4 (2015): The Design Concept; 3.1-3.13
Design as Co-Evolution of Problem, Solution, and Audience
Halstrøm, Per Liljenberg; Royal Danish Academy of Fine Arts - The School of Design
Galle, Per; The Royal Danish Academy of Fine Arts - The School of Design
2015-07-28
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License
url:https://scholarworks.iu.edu/journals/index.php/artifact/article/view/12815
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The meaning of ‘design’ can be captured in a general way by a good definition, but even the best definition cannot provide an understanding sufficiently deep to guide the professional designer or the student of design in the intricate deliberations of doing design in practice. Therefore we explore design beyond the level of definitions, reviewing canonical theories about design as a professional enterprise. We find that the well-established theoretical notion of ‘co-evolution’ of problem and solution in design has its merits in regard to understanding design deliberations; but also that existing theories leave the practitioner at a loss for guidance in some respects. To remedy this situation, we propose the notion of ‘triple co-evolution’ that also involves the ‘audience’ of a designed artefact. Furthermore, we conjecture that the study of so-called ‘constitutive rhetoric’ offers valuable conceptual resources for conceiving of design in terms of such triple co-evolution. For example, many design products may be thought of as offering an audience a ‘subject position’ that hint at whom they should become. In support of the case we make for thinking in terms of constitutive rhetoric in design, we present a small sample of design cases, arguably showing signs of triple co-evolution and understandable in terms of ‘audience constitution’.
oai:ojs.scholarworks.iu.edu:article/12816
2017-06-18T05:13:14Z
artifact:CONCEPT
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https://scholarworks.iu.edu/journals/index.php/artifact/article/view/12816
2017-06-18T05:13:14Z
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Vol. 3 No. 4 (2015): The Design Concept; 10.1-10.9
Design and the Function of Art
Brix, Anders; The Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation - School of Architecture
2015-12-30
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License
url:https://scholarworks.iu.edu/journals/index.php/artifact/article/view/12816
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Western thought tends to categorically separate art from “mere” artefacts: The arts serve no function except for aesthetic contemplation, while artefacts are functional objects intended for a specific purpose.This separation has caused some confusion as to the field of design, which may sometimes belong to either and at other times neither: not really art but not just utility. Thus the concept of design has fluctuated between the putative luxury of art and the practical necessity of technology. The beaux-art view saw design as an art form in its own right. Contemporary views, in contrast, tend to emphasize design’s capacities for problem solving, innovation and the like—to the extent of turning design itself into a “mere tool” for economic growth.This article examines how the art-artefact dichotomy, rooted in the notion of “function,” permeates contemporary design discourse. Through discussion of two examples, it reveals some of the logical inconsistencies the dichotomy gives rise to.Having demonstrated the shortcomings of such separation, it turns to discuss its origin in thought: Language separates, while things, as such, are whole. Further discussion of even more examples attempts to show how our perception of things is governed and directed by our discourses, and how this may cause us to overlook important features of both things in general and the potential of design in particular.
oai:ojs.scholarworks.iu.edu:article/12974
2017-06-18T05:13:15Z
artifact:CONCEPT
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https://scholarworks.iu.edu/journals/index.php/artifact/article/view/12974
2017-06-18T05:13:15Z
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Vol. 3 No. 4 (2015): The Design Concept; 11.1-11.10
Graphic Design for the Real World? Visual Communication’s Potential in Design Activism and Design for Social Change
Bichler, Katrin Elisabeth; University of Applied Arts Vienna
Beier, Sofie; Royal Danish Academy of Fine Arts, School of Design
2016-07-28
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License
url:https://scholarworks.iu.edu/journals/index.php/artifact/article/view/12974
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This article examines graphic design’s role within design activism. It outlines design activism in general and its relation to commercial design culture in a consumerist economy. Thereafter it discusses persuasive tendencies in graphic design and questions if its current contribution to design activism is limited to its predominant narrow role of persuading for “the good cause.” To illustrate the hypothesis that such a persuasive approach lacks activist potential and thus social impact, cases that represent traditional graphic-design activism are compared to alternative approaches with an informative rather than persuasive character. The latter cases exemplify how information design can challenge the status quo and range from conventional leaflets to interactive tools and data visualizations. The discussion explores how these cases work as a non-commercial service to its audience, rather than solely solving communicative problems for commissioning clients. It is argued that in this way visual communication can intervene into problems on a functional level, similarly to artifacts from design disciplines such as architecture and industrial or product design.
oai:ojs.scholarworks.iu.edu:article/19402
2017-05-16T22:05:24Z
artifact:CONCEPT
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https://scholarworks.iu.edu/journals/index.php/artifact/article/view/19402
2017-05-16T22:05:24Z
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Vol. 3 No. 4 (2015): The Design Concept; 1.1-1.8
Introduction: the Design Concept - Anything, Everything, Something or Nothing
Raahauge, Kirsten Marie; Royal Danish Academy of Fine Arts
2015-07-28
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License
url:https://scholarworks.iu.edu/journals/index.php/artifact/article/view/19402
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This volume of Artifact explores the design concept. It is concerned with the differences and similarities that exist in the various interpretations of design. The effort is not to try to define the concept or to state what is right or wrong in the confusing jungle of interpretations; rather this is an effort to understand some of the ways in which the concept is used, and what this means for the praxis of designers and the development of the field of design in its widespread forms (excerpt).
oai:ojs.scholarworks.iu.edu:article/22517
2017-06-18T05:13:15Z
artifact:CONCEPT
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2017-06-18T05:13:15Z
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Vol. 3 No. 4 (2015): The Design Concept
Design, Knowledge, and Ignorance. Jude Chua's presentation for the Design Concept Conference
Chua, Jude; National Institute of Education
2016-08-26
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License
url:https://scholarworks.iu.edu/journals/index.php/artifact/article/view/22517
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The Royal Danish Academy of Fine Arts - Schools of Architecture, Design and Conservation held a one-day conference discussing the design concept on 26 August 2016. This is Jude Chua's presentation of his article, "Design Without Final Goals: Getting Around Our Bounded Rationality."
oai:ojs.scholarworks.iu.edu:article/22752
2017-06-18T05:13:16Z
artifact:CONCEPT
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2017-06-18T05:13:16Z
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Vol. 3 No. 4 (2015): The Design Concept
Construction Site Sides
Tønsberg, Ivar
2016-10-27
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License
url:https://scholarworks.iu.edu/journals/index.php/artifact/article/view/22752
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Photography created for the Design Concept issue by Ivar Tønsberg.