Ethnographic work conducted by the Digital Health Group, Intel Ireland, explores the questions of how concepts of health and independence relate to peoples' lives in later life. This paper serves to present artistic approaches to the design of the material culture in elderly homes in Ireland, and aims to highlight and discuss the merits and problems of such approaches. Through writing 'in miniature' about specific experiences and homes, we propose that it is possible to develop explorations of material objects in the home which, rather than presenting material contexts as terminal 'conclusions' to the research process, use them as provoking and questioning resources for engaged dialogical encounters with informants.
Adam Drazin and Simon Roberts
Many of the ways in which artifacts appear to or actually do affect us—as elegant, dynamic, comfortable, authentic—are based on the fact that they are designed objects. Design is an effect-oriented process that resorts to design rules linking formal aspects of designed artifacts to specific design effects. Design rhetoric tries to capture these links between design techniques and resulting effects. This article presents design-rhetorical methods of identifying design rules of intersubjective validity. The new approach, developed at Bern University of the Arts, combines rhetorical design analysis with practice-oriented design research, based on the creation and empirical testing of design variants in accordance with effect hypotheses.
Art has to move on and design does not, unless it is a good design for a bus. --David Hockney, The Guardian, 26 October 1988
The plates we eat off and the books we read have scarcely changed in shape for over five hundred years: even the layout and arrangement of the contents of a book printed in 2017 are much the same as one printed in 1717.
Mood, Intuition and Imagination in Architectural Practice
In this article, I argue that anticipation unfolds within a range of experiential modalities. Because moods and emotions, intuitions and imagination, among other forms of experience, can all appear as disclosing something about the future, anticipation is heterogeneous. Building on work in phenomenological anthropology and philosophy, I offer a generative phenomenology of the range of anticipatory experience, arguing that some forms of experience are relatively more implicit while others may prove more salient and offer more explicable forms of anticipation. As anticipation emerges in time, the more implicit experiential modes such as mood and intuition operate as antecedents to more explicit ones such as imagination. Turning to apply these ideas to ethnographic materials from my fieldwork among architectural design teams in San Francisco, I demonstrate how attentiveness to this gradient of anticipatory experience allows us to account for anticipatory experiences as they unfold through time.
Two Greek Reading Textbooks from 1944
In contrast to the countries of Western Europe, the end of the Second World War did not bring political restoration, economic recovery, or the emergence of a new social order to Greece. Subscribing to the view that the material form of books and their typography convey meaning, this article presents a comparative study of the design and production of a reading primer and a third-year reading textbook, both of which were published in a climate of political and social disorder. Drawing on surviving copies of the books, educational laws, teachers’ recollections, and archival material, this article examines the ways in which the sociopolitical environment and technological conditions of a publication affect the ways in which texts are shaped into book form.
Toward an (In-flight) Understanding of the Sensuousness of Mobilities Design
Ole B. Jensen and Phillip Vannini
In this article we present a theoretical framework for an understanding of the relationship between the material design of mobilities technologies and the multisensorial human body. Situating our work in the emerging field of “mobilities design” within the broader so-called mobilities turn, we focus on two very different aircraft types and their design (the large passenger jet Boeing 737 and the small propeller aircraft DHC-2) in order to explore the sensuousness of in-flight experience and atmosphere. We focus on the interior design of the aircraft as well as on their technical capacities, and end with a conclusion that offers a fl at ontological view of mobilities design. We argue that according the material design of mobilities technologies must be inscribed on equal terms with the sensing human subject if we are to claim that we have reached a better understanding of how mobility feels.
The definition of 'applied anthropology' varies from period to period and from culture to culture. However, anthropology's centrality is, in my eyes, unquestionable. With that in mind, a significant part of the discipline's basic principles remained unchanged, despite recent socio-cultural, economic and technological changes sweeping the world in recent years. In this article I wish to present two case studies in which the inherent connection between anthropology, as a discipline, and other professions, is challenged. Through teaching anthropological theories and methodologies to industrial designers and architects I will present a somewhat different approach from those practiced by anthropologists. As a result I will redefine the role of the applied anthropologist as an essential member of the design team.
This article discusses the ways sound design in film guides the emotional affect of both sound and pictures on the viewer. Following the theory of conceptual metaphors, the article proposes an approach to "audiovisual metaphors," analyzing emotional and embodied aspects of film sound. It states that pictures and sound have to share emotional and physical characteristics that can be merged by sound designers conceptually and metaphorically in order to improve the emotional and physical affects of a fictional character or object in a film. Thus it argues that the synchresis (audiovisual fusing) of pictures and sound is most effective when embodied image schemata are used by sound design that guide, on an unconscious level, our perception of film. In audiovisual metaphors, image schemata as "force" or "balance" are projected on sound and pictures that create an audiovisual and emotional gestalt of the objects. Using examples from Stanley Kubrick's The Shining and Francis Ford Coppola's Rumble Fish, the article shows how the emotional attributes of fictional character, spaces, and objects can be conceptualized metaphorically, via their very materiality, by sound design—attributes that are perceived prominently on a presymbolic and preconscious level by the viewers but that communicate complex cultural and narrative meanings.
Designers of the products and environments we use have a significant responsibility to maintain quality of life for elderly and disabled people. Their ability to achieve this is limited both by information available to them and by the attitudes of society. The fact that we age is immutable and predictably changes the nature of our lifestyles. The environments around us and our daily living tools enhance our abilities to fulfil our lifestyles. In the kitchen, for example, the basic need of food preparation is rendered highly efficient through the layout of work-tops, sink and cooker and made quicker by tools such as mixers and microwaves. Designers have created these tools which meet the needs of the large majority of potential users. Designers can therefore also meet the change of needs resulting from the effects of the ageing process.
John V. Maciuika
Although the conflict between Muthesius and van de Velde has been well documented in the annals of modern architectural and design history, far less understood is the extent to which domestic political crises and new policy departures in Berlin served as preconditions for the Werkbund conflict in the first place. Prominent Werkbund members—men such as Werkbund Managing Director Ernst Jäckh and Werkbund Vice President Hermann Muthesius, but also including such national political figures and Werkbund members as Friedrich Naumann of Württemberg and Gustav Stresemann of Saxony—used institutional affiliations and their multiple professional identities to forge unprecedented linkages between the Werkbund leadership, industrial interest groups, and powerful German state interests. Specifically, and at the national level, new policies articulated by German Chancellor Theobald von Bethmann Hollweg and key German ministries in Berlin, strident national interest group politics, and an evolving state outlook toward Weltpolitik (geopolitical strategy) combined to reshape Werkbund policy in fundamental ways between 1912 and 1914. Without these forces, and without developments that followed the lopsided and highly contentious Reichstag elections of January 1912, the Werkbund likely never would have risen to the prominent position it came to occupy with state authorities by July 1914.