Artifact

Design research is a timely topic, given the current movements in art and design institutions throughout the world towards articulation, conceptualization, and (academic) research, where labels such as practice-based research abound. It is also a challenging topic with many open issues concerning conceptual foundations and methodological practices. As the articles in this special issue will show, design research is marked by significant diversity in the sense that it engages researchers from many different disciplines: Philosophy, systems theory, social science, information science, architecture, and design are among the academic disciplines represented here, with all the diversity in epistemological and methodological traditions that they entail.

In order to define instrumentation in the context of mathematics education, it is necessary to define instruments: at this stage of this article we do not differentiate between instruments and artifacts, i.e. regard them as things that are created and used by humans to help, assist, support, enlarge, empower their activity. Instrumentation is the action to give someone an instrument, or the action by which someone acquires an instrument, in order to perform a given activity. The notion of instrumentation is part of a network of concepts; we will focus here on the main dialectical relationships between them.

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.”

Throughout the scales of design there has been an exploding interest in the ornament that seems to be fuelled by different kinds of digital technology and media from CAD to digital printing in both 2D and 3D. In architecture and industrial design, it is discussed as a "return of ornament" because the aesthetics of Modernism banned ornamentation as "inappropriate" to materiality, construction, and function. In this article we wish to renegotiate this highly normative notion of appropriateness with special regard to sustainable design where the "right" kind of ornaments can mediate attention to more aesthetic and cultural dimensions and open for stronger individual attachments to consumer goods that might prolong their lifespan. Adolf Loos, who led the fight against ornament in the early 20th century, based his critique on an assumption of relation between ornamentation and durability that makes ornaments appropriate or not. This leads us to suggest an array of parameters that point out different situations and meanings of ornamentation: Product categories, Durability of materials, Styles, Aesthetic experience, Emotional attachment and Historical references. We discuss these parameters in cases from fashion and tableware to architecture and link ornamentation to the aesthetics of durability.

This paper presents an approach to understanding green aesthetics in clothing and design-forsustainability that unifies existing theories and describes aspects of green aesthetics. The aim of this paper is to define the dimensions of aesthetic perception in design and commodities, and while doing so the focus is on green aesthetics in clothing. Hence the approach is made on the basis of aesthetic discourse yet with a multidisciplinary view. The study first constructs an understanding of clothing aesthetics in general: the definition and understanding 'thin' aesthetics in the context of clothing, which combines product properties, multilayered pleasure experiences, and creativity elements. Secondly the study lays the ground for defining green aesthetics, a 'thick' aesthetic evaluation based on environmental aesthetics. Finally the study constructs a framework by which to approach green aesthetics in clothing. On the basis of this paper, parallels and synergies between green aesthetics in design objects and the definition of design-for-sustainability can be drawn, merging aesthetic attributes with environmental values. Hence the paper opens new views on normative beauty in commodities.

This paper explores regenerative existence for Human 2.0-the transhuman. In building this focus, the author addresses the use of emerging technologies as propitious in designing the amended, extended, and suspended human body. Here, a first focus covers emerging biotechnologies for regenerative existence, which play a large role in extreme life extension. A second focus covers the digital technologies for enhancing realities, which will play a vital role in our adapting to immersive environments. In bringing these methods together, this paper concludes that the concept of designing a future human body is not only plausible, but will be in high demand around the year 2025.

This paper compares and contrasts two approaches to the university architecture studio as a contribution to discussions around design-led research. The first is the sequence of undergraduate studios undertaken under John Hejduk at the Cooper Union for the Advancement of Science and Art, New York, the second, the postgraduate Urban Design Studio at Cornell University, Ithaca, as directed by Colin Rowe . Student work is used to illustrate studio character, project type, and the diversity of architectural-urban problems addressed, ranging from Hejduk's Nine Square, Cube, and Juan Gris studios to Rowe's grid and fragment studies, infill or completion problems, and overall field or city scale projects. The paper highlights important differences in scale and project type while at the same time revealing a shared pedagogical and philosophical belief in abstraction, autonomy, and formal exercises in contrast to studios which emphasize functional brief, site specific studies, structure or building systems. From this it is conjectured that the Hejduk and Rowe approaches constitute exemplary models of studio-based research in architecture.

After an introduction which addresses some basic questions, this article is organized around three points: (1) The theoretical framework of the so-called ‘‘instrumental approach’’ which has been a theme in the last two CAME symposia; (2) A consideration of two processes (instrumentalization and instrumentation) which interact in the instrumental genesis; and (3) The introduction of the idea of instrumental orchestration as a way of allowing the teacher to assist the student’s instrumental genesis

Long time ago, Alain Findeli stated the need to seriously develop the aesthetic side of Design Philosophy (Design Issues, 1994). 1 He presented the topic as needful both for design history and design theory discourses. Since then some articles appeared focussing straight on the topic (Mandoki, Solórzano, Zatonyi are authors usually discussing on aesthetics in Latin America; M.N. Folkmann, F. Pombo, in Europe, have been applying phenomenology to the aesthetic understanding of design...). This paper develops a fist work written in 2007 2 just after a law was approved in many countries of the UE to protect design. The aesthetic side of design is something considered objective enough to be able to be protected legally. In that context, this essay combines an analysis of what implies the text of the law for the aesthetic self understanding of design with a reflection on what has been said by Philosophical Aesthetics related to everyday life and common things trying to outline questions a research field such as this should face. Issues considered are the role of aesthetics in a quantified world, aesthetic appearance as innovation, the potential of aesthetics in the old modern project; finally, it gives a look on the topic of the aesthetization of everyday life as a hope for design's self-understanding.

To understand how the design process works, the
paper takes the outset in the work of one of the
first innovating type designers: the English printer
and typefounder John Baskerville (1706-1775). By
comparing his way of working with a model for a
contemporary design process, the paper reflects
upon the relationship between this and the way
Baskerville might have worked in the development
of his historical typeface style.

Students love learning software, while faculty often avoid teaching it. This essay argues that a key way to reengage both students and faculty is to approach software as an analytical tool, a means of not only describing and generating meaningful form, but also synthesizing the practical goal of production with the theoretical goal of conceptual development. Software can thus be a bridge between theory and practice. Theory is by definition general: it is a description or model capable of sustaining its relevance across countless unique situations. Practice, on the other hand, is lived, grounded, and specific: it is the ongoing application of ideas to circumstances, a process that in turn reforms our models, warping and transforming our theories. Like theory, software is general, while practice is specific. Software exists prior to any practical use of it, and yet it is designed to anticipate those uses. Tools such as Photoshop, InDesign, and AfterEffects have cast a net around our field of practice, filtering our daily production of typography, symbols, images, and information systems. No theory or pedagogical practice yet exists to address the role these commercially developed and distributed digital technologies play in shaping and describing design's visual language.

The increasing problem of polymer deterioration in museum collections is challenging conservators to research suitable treatment and storage options for objects made of plastic and rubber. Conservators at The Mariners' Museum have researched and performed treatment experiments on a collection of 24 waterlogged rubber gaskets from the steam engine of the USS Monitor, an American Civil War ironclad. Several analytical methods were used to determine the chemical characteristics of the rubber and to identify corrosion products, including Fourier Transform Infrared Spectroscopy (FTIR) and X-Ray Diffraction (XRD). In addition to contributing to the overall study of polymer degradation, the primary goal of the research was to remove corrosion products and mineralization that had formed on the surface. Chemical analysis was performed to extract corrosion products and determine the composition of the rubber. An investigational technique, electrophoresis, was tested for removal of corrosion products and mineralization on the surface with varied results.

This paper explores regenerative existence for Human 2.0 – the transhuman. In building this focus, the author addresses the use of emerging technologies as propitious in designing the amended, extended, and suspended human body. Here, a first focus covers emerging biotechnologies for regenerative existence, which play a large role in extreme life extension. A second focus covers the digital technologies for enhancing realities, which will play a vital role in our adapting to immersive environments. In bringing these methods together, this paper concludes that the concept of designing a future human body is not only plausible, but will be in high demand around the year 2025.

Over the last ten years we have seen a growing number of researchers integrating design experiments in their research inquiries. Initially, this work borrowed heavily from neighboring fields, employing a dual strategy in which design experiments and their evaluation were largely treated as separate processes that were often carried out by different people. More recently, design researchers have developed several approaches that integrate design-specific work methods to research. This paper takes a methodological look at three such established approaches that we call Lab, Field, and Gallery. We describe them and analyze their similarities and differences. In conclusion, we discuss whether design research today needs foundation based on the standards established for other disciplines.

Resumo: A presente investigação no âmbito do design procura estudar os rituais de sedução e namoro encontrados intemporalmente na natureza para que, através da elaboração de um modelo taxonómico, seja criada uma ferramenta que facilite a inspiração conceptual e poética, a partir de analogias que potenciem a imaginação sobre novos modos de interacção. O principal objectivo será aplicar este estudo na concepção de comportamentos inéditos em artefactos tecnológicos que se relacionam diretamente com o ser humano, ou permitam a mediação entre seres humanos. Será proposta uma taxonomia de comportamentos biológicos baseados nos rituais de sedução e namoro encontrados na natureza, no sentido de definir um sistema que permita mapear uma percepção global de exemplos encontrados na natureza, que se revelem inspiradores para as relações humanas. Esta sistematização visa definir fenómenos naturais, com o objectivo de organizar e caracterizar os comportamentos identificados e estabelecer analogias que permitirão traduzir-se em novos modos comportamentais por parte dos artefactos interativos. A linha de investigação apresentada neste artigo pretende demonstrar a pertinência de incluir os comportamentos biológicos nas metodologias projectuais inspiradas na natureza e aplicadas ao design de produto, passando, desta forma, a constituírem-se como mais uma área de influência para além da inspiração biológica na forma e na técnica que actualmente impera nesta abordagem. Parece-nos que, através deste tipo de analogias encontradas na natureza, será possível gerar novas experiências, comportamentos e seduções alicerçadas em arquétipos biológicos e intemporais que promovam a comunicação entre pessoas e objectos. Acredita-se que estes novos modos de inter(rel)acção com o artefacto tecnológico podem constituir-se como um caminho a ser explorado no percurso contemporâneo da cultura material emergente da sociedade pós-digital. A materialização final deste estudo será o desenho de um conjunto diferenciado de artefactos tecnológicos, que pretende testar a taxonomia proposta, esperando-se dessa forma criar uma ferramenta conceptual que permita gerar novos modos de interacção.

This paper compares and contrasts two approach-es to the university architecture studio as a contri-bution to discussions around design-led research. The first is the sequence of undergraduate studios undertaken under John Hejduk (1929-2000) at the

Virtual worlds, shared graphical spaces on the Internet, are an exciting new medium of human presence for the twenty-first century. This article explores the origins, evolution, and future of the virtual world medium from their humble beginnings in multi-player games to their use in education, business, science, and engineering. Its focus will be on the development of social virtual worlds including environments such as Habitat, Active Worlds, and Second Life.

Throughout the scales of design there has been an exploding interest in the ornament that seems to be fuelled by different kinds of digital technology and media from CAD to digital printing in both 2D and 3D. In architecture and industrial design, it is discussed as a "return of ornament" because the aesthetics of Modernism banned ornamentation as "inappropriate" to materiality, construction, and function. In this article we wish to renegotiate this highly normative notion of appropriateness with special regard to sustainable design where the "right" kind of ornaments can mediate attention to more aesthetic and cultural dimensions and open for stronger individual attachments to consumer goods that might prolong their lifespan. Adolf Loos, who led the fight against ornament in the early 20th century, based his critique on an assumption of relation between ornamentation and durability that makes ornaments appropriate or not. This leads us to suggest an array of parameters that point out different situations and meanings of ornamentation: Product categories, Durability of materials, Styles, Aesthetic experience, Emotional attachment and Historical references. We discuss these parameters in cases from fashion and tableware to architecture and link ornamentation to the aesthetics of durability.

In this article we argue that, for educators in design, urbanism and sustainability, the responsibility of connecting emergent design practice and changing societal needs into pedagogical activities demands that attention be given to ecologies of learning that explore the interplay between what is and what might be. As such, this futuring imperative brings into play a mix of modes of situated learning experience, communication and tools from design and learning to query the planned and built environment as a given, while offering alternate future visions and critiques. In this article, we argue for agile pedagogy that enables students to co-create as citizens in public spaces, through agentive multimodal construction of their identities and modes of transformative representation. Our core research problematic is how to develop, enact and critique design-based pedagogies that may allow designer-educator-researchers and students alike to co-create learning ecologies as dynamic engagem...

This paper offers a typology for understanding design fiction as a new approach in design research. The typology allows design researchers to explain design fictions according to 5 criteria: (1) "What if scenarios" as the basic constructional principle of design fiction; (2) the manifestation of critique; (3) design aims; (4) materializations and forms; and (5) the aesthetic of design fictions. The typology is premised on the idea that fiction may integrate with reality in many different ways in design experiments. The explanatory power of the typology is exemplified through the analyses of six case projects.

The great icons of industrial and architectural design are cornerstones of our material culture. They are referred to again and again in education, research, and cultural debate, and as such they have become nodal points of human discourse. The knowledge embedded in such artefacts has often been referred to as "silent knowledge". Drawing on the one hand on an analysis of the elements of the design process and, on the other, on a simple model for knowledge construction as such, taken from the world of scientific research, this article discusses the nature of such silent knowledge. It is argued that the structure of any new knowledge contribution is the same regardless of field, be it art, philosophy, or science, whereas the phenomena involved are different.

This article uses a case study to discuss drawing and interior dwelling as enstasic methodological practices that reach potentials beyond those available to thinking prescribed by the written word. In considering the means by which the short film Munted (Ings 2011) was drawn into being, it suggests that drawn approaches to the design of filmic narratives might enable the designer to reach in unique ways, into ideation and outwards into the communicative content and appearance of a text.

Qualitative data obtained by this researcher to date suggests ambiguity and uncertainty in design research and education, and yet 'innovation', 'novelty', and 'utility' are all terms of reference for formal design registration and patent assessment. Notwithstanding that patent law is a socio-political institution, and understanding it is a somewhat interpretive art in itself, this mixed method research aims to provide insight into ways to improve the design evaluation process and to provide a new approach to design education curricular. In keeping with the aim, valid evidence as to how the axioms of value and law are compatible with design research is sought. The hybrid mixed research method includes practice-led approach, involving application for design registration of a human computer interface artifact. It is intended that analysis of this process will inform a solution for the elusive validation and measuring of design artifact outcomes, and a credible and scholarly assessment model for design researchers. This paper specifically discusses the role of the artifact itself in establishing value, using as a starting point the Design Research conceptual framework of Bruce Archer and Phil Roberts.

В 2016 г. эмблемой 7-й международной конференции «Актуальные проблемы теории и истории искусства» с дискуссионным акцентом «Артефакт. Арт-объект. Аргумент. Объект в изобразительном искусстве: задача, метод, результат» была выбрана картина петербургского художника Глеба Богомолова «Эгина». Масштабное полотно (195х145 см), написанное в 2004 г., в полной мере представляет последний, пожалуй, самый блистательный и просветленный период творчества мастера.
In 2016 the International Conference “Actual Problems of Theory and History of Art VII” with the discussion focusing on “Artifact, Art-object, Argument. An object in visual arts: tasks, methods, results” chose as its emblem the painting “Aegina” by the St. Petersburg artist Gleb Bogomolov. Created in 2004, this large-scale canvas (195 х 145 cm) fully represents the last, perhaps the most brilliant and enlightened period of the master.

Higher education for the design professions – designers, architects and engineers – has been combining traditional disciplines of research and design in new ways, into what is now known as design research. As a discipline in its own right, design research is still quite young, and the design professions need a theory of science that takes their specific character into account, thus contributing to their self-image, and locating them in the greater landscape of research. Using philosophically oriented conceptual analysis I develop a system of basic concepts as elements of such a theory of science for the design professions. The concepts of design, research and design research are analysed, clarified and coordinated, in relation to concepts such as knowledge, theory and practice. At the same time I propose a precise, yet intuitive, terminology that may be shared and foster cross- disciplinary understanding and communication among the design professions, and which each of them can expand for purposes of its own.

How could we think of images that are neither figurative nor abstract, or perhaps are both at the same time? How could we think of images that are not either signifying and representational or non-signifying and non-representational but rather a-signifying and a-representational in the sense that they operate and find expression beyond the very question of signification and representation? The aim of this text is to explore the key elements in such imagery beyond representation. I will investigate the issue by revisiting a series of iconic images in early 1920s avant-garde film by the artists Man Ray and Fernand Léger. On this background, and in dialogue with film theorists and philosophers such as Malcolm Le Grice and Gilles Deleuze, I outline the basic properties and aesthetic potentials of what I term the generalized image as an imagery that operates and affects beyond the very question of representation.

In exploring the productive potential of virtual worlds, one relevant line of inquiry is the degree to which immersive online environments can support the objectives of real-world enterprises. Despite the favorable treatment of virtual worlds in the popular and business press, organizations remain cautious in their acceptance and adoption of virtual environments. Since there is a dearth of academic literature on this facet of the virtual world phenomenon, this research aims to provide an assessment of executive perspectives on the potential impact of virtual worlds on businesses and the challenges that may be encountered in organizational application of such environments. To capture business-oriented perceptions of virtual worlds, we analyzed the reports of twenty-five business executives who recently spent considerable time training in and exploring Second Life, a popular online virtual environment. We identify and discuss seven tensions reflected in their assessment of the organizational role of virtual worlds, and situate these tensions in the prevailing computer-mediated communication discourse. Findings point to significant parallels with evaluative perspectives on earlier waves of Internet-based innovation, insights from the existing literature on computer-mediated communication, and an opportunity for theory generation through dialectical reasoning.

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 ...

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In this article we argue that, for educators in design, urbanism and sustainability, the responsibility of connecting emergent design practice and changing societal needs into pedagogical activities demands that attention be given to ecologies of learning that explore the interplay between what is and what might be. As such, this futuring imperative brings into play a mix of modes of situated learning experience, communication and tools from design and learning to query the planned and built environment as a given, while offering alternate future visions and critiques. In this article, we argue for agile pedagogy that enables students to co-create as citizens in public spaces, through agentive multimodal construction of their identities and modes of transformative representation. Our core research problematic is how to develop, enact and critique design-based pedagogies that may allow designer-educator-researchers and students alike to co-create learning ecologies as dynamic engagem...

Abstract We reveal the surprising and counterintuitive truth that the design process, in and of itself, is not always on the forefront of innovation. Design is a necessary but not a sufficient condition for the success of new products and services. We intuitively sense a connection between innovative design and emergence. The nature of design, emergence and innovation to understand their interrelationships and interdependencies is examined. We propose that design must harness the process of emergence; for it is only through the bottom-up and massively iterative unfolding of emergence that new and improved products and services are successfully refined, introduced and diffused into the marketplace.

My starting point is that discussions in philosophy about the ontology of technical artifacts ought to be informed by classificatory practices in engineering. Hence, the heuristic value of the natural-artificial distinction in engineering counts against arguments which favour abandoning the distinction in metaphysics. In this chapter, I present the philosophical equipment needed to analyse classificatory practices and then present a case study of engineering practice using these theoretical tools. More in particular, I make use of the Collectivist Account of Technical Artifacts (CAT) according to which there are different classificatory practices for natural, artificial, and social objects. I demonstrate that in the community studied, artificial kinds are marked by distinctive classificatory practices. The presence of these distinctive classificatory practices in engineering with regard to artificial kinds should inform discussions about the ontology of technical artifacts just as the distinctive classificatory practices in natural science inform discussions about natural kinds.

In this article we argue that, for educators in design, urbanism and sustainability, the responsibility of connecting emergent design practice and changing societal needs into pedagogical activities demands that attention be given to ecologies of learning that explore the interplay between what is and what might be. As such, this futuring imperative brings into play a mix of modes of situated learning experience, communication and tools from design and learning to query the planned and built environment as a given, while offering alternate future visions and critiques. In this article, we argue for agile pedagogy that enables students to co-create as citizens in public spaces, through agentive multimodal construction of their identities and modes of transformative representation. Our core research problematic is how to develop, enact and critique design-based pedagogies that may allow designer-educator-researchers and students alike to co-create learning ecologies as dynamic engagem...

Digital design materials are temporal as much as they are spatial, which means that specific concepts are needed for understanding the use experiences of digital artifacts and the aesthetics of interaction design. In this paper, the quality of pliability is introduced to characterize the degree to which interaction feels involving, malleable, and tightly coupled–and hence to what degree it facilitates exploration and serendipity in use. Three sets of contrasting artifact examples from different domains (online maps, digital-image ...

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 o...