Design Things (Design Thinking, Design Theory) by Thomas Binder, Giorgio De Michelis, Pelle Ehn, Giulio

By Thomas Binder, Giorgio De Michelis, Pelle Ehn, Giulio Jacucci, Per Linde, Ina Wagner

Layout issues bargains an leading edge view of layout pondering and layout perform, envisioning how one can mix inventive layout with a participatory process encompassing aesthetic and democratic practices and values. The authors of layout issues examine layout perform as a style of inquiry that comprises humans, area, artifacts, fabrics, and aesthetic event, following the method of transformation from a layout suggestion to a specific thing. layout issues, which grew out of the Atelier (Architecture and know-how for Inspirational dwelling) examine undertaking, is going past the making of a unmarried item to view layout tasks as sociomaterial assemblies of people and artifacts--"design things." The publication bargains either theoretical and functional views, offering empirical aid for the authors' conceptual framework with box tasks, case stories, and examples from expert perform. The authors study the dynamics of the layout strategy; the a number of variations of the item of layout; metamorphing, appearing, and occurring as layout innovations; the concept that of the layout house as "emerging landscapes"; the relation among layout and use; and the layout of debatable issues.

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The Richness of Materials and Connections Materiality and the Diversity of Representations In design practice, materiality is seen as more than a technical property of the materials from which a building or designed artifact is made; “it is a precondition that promotes ideas, creativity, and pleasure in architecture, and it guides us to the loftiest aspirations of theory” (Jorge Silvetti, in Mori 2002, xvi). Materiality comprises physical properties such as texture (roughness or smoothness, details), geometry (size, shape, proportion, location in space, and arrangement in relation to other objects), material (weight, rigidity, plasticity), and energy (temperature, moisture), as well as dynamic properties; material artifacts engage with all our senses (Rodaway 1994).

Contact with the street outside . . we have these Venetian blinds, they enable you to switch yourself off but you may also leave them open . . this has a positive effect, this possibility of being in touch, this has something refreshing for me, when the traffic passes by, maybe because we rarely go outside, working so much . . it is like a screen . . with our heads a little above people passing and you overhear parts of their conversations. W. with architect Anna Popelka, May 22, 2002) Some architects and urban planners, such as Robert Mull, create their office at the site, turning the site into a planning space.

James Joyce’s Ulysses is such a text that defines the urban experience without working with drawings. W. with Adolf Krischanitz, March 28, 2001) The process this architect describes is one of working on layers, with the design concept being concentrated in each of these layers. A designer needs the “stranger’s gaze,” the creative gaze that simultaneously implies closeness and distance. He emphasizes the movement of closing and reopening the design concept in particular situations, to research, integrate additional resources, and so on: “You cannot design unremittingly but have to confront your design with almost its opposite—removing, reproducing, collecting, quantifying, qualifying, and so forth” (ibid).

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