Design participation(-s)
Design participation(-s)
复制标题
设计参与
DOI：
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发表时间：
2008
期刊：
影响因子：
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通讯作者：
J. Gregory
中科院分区：
文献类型：
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作者：
T. Binder;Eva Brandt;J. Gregory
参与的问题在设计和设计研究中重新焕发活力，第二代设计师正在接受挑战，开放设计过程，与设计界以外的人进行接触和对话。深深扎根于技术创新的大公司聘请人类学家和设计师，通过与有朝一日可能成为未来用户的人积极参与来研究未来趋势。年轻的设计师们正在利用各种机会，有意识地允许和鼓励人们去增加和改变以前被认为是完成的设计。对于这期特刊的标题，我们选择了复数：设计参与（-s）。因此，我们想提出，目前对参与的兴趣是多种多样和多方向的。它是由对人们的想象力和无形的愿望和动机的真正好奇心驱动的，使参与问题成为设计师的关注点。在当代设计参与（-s）中，参与仍然是关于参与多种声音。但是，我们并不认为这是为了满足特定需求而设计的尝试，我们感受到了一种更加多元化的雄心，即使设计实践成为持续变化的创造性公地。在研究界，许多设计研究人员正在研究如何通过重新思考设计过程，重新铸造“用户”作为共同创造者，今天的新趋势，参与可能得到支持。20世纪70年代初开始出现了两个朝向设计参与的变革运动：一个是始于斯堪的纳维亚和北方欧洲的早期参与式设计运动，另一个是来自设计研究界的呼吁，即为社会设计，并将非设计师纳入设计合作。批判性设计的历史起源于对一种设计方法的批判，这种方法排除了大多数或所有用户的声音，也忽视了许多其他利益相关者。这一批评的一个鼓舞人心的转折点是设计研究协会1971年的会议，该会议呼吁设计参与，桑德斯和斯塔普斯在本书中讨论。这次会议既是将设计服务于社会需求的一次尝试，也是设计师们成熟的自我意识的一个标志，他们准备离开传统的工艺方向，以换取更公开透明的设计方法的现代剧目。Sanders和Stappers提供了从那时到现在的运动和电流的有趣映射。他们引用了未来学家Robert Jungk在1971年的演讲，他指出，要解决参与创意产生的设计议程，需要一代人的时间。这一转折点凸显了设计和创新领域如何受到长期变化的影响，而长期变化是短期趋势和时尚出现的基础。CoDesign第4卷，第1期，2008年3月，1-3
The issue of participation is revitalised in design and design research, and a second generation of designers is taking up the challenge to open up the design process for engagements and dialogue with people outside the design community. Large companies deeply embedded in technological innovation employ anthropologists and designers to study future trends through an active involvement with people who may one day be future users. Young designers are playing with the opportunities to consciously allow for and encourage people to augment and change what was previously thought of as the finished design. For the title of this special issue, we have chosen the plural: design participation(-s). With this we want to propose that the present interest in participation is diverse and multidirectional. It is driven by a genuine curiosity toward peoples’ imaginative and intangible aspirations and motivations, making the issue of participation a concern for designers as such. In contemporary design participation(-s), participation is still about engaging multiple voices. But rather than thinking of this as attempts to design in concert with particular needs, we sense a more pluralistic ambition of making design practice a creative commons for ongoing change. Within research communities, many design researchers are looking into how today’s new tendencies towards participation may be supported through a re-thinking of the design process that re-casts ‘users’ as co-creators. Two transformational moves towards design participation(-s) began to emerge in the early 1970s: the early participatory design movement that began in Scandinavia and northern Europe, and the call from within the design research community to design for society and to include non-designers in design collaborations. Participatory design has its historical origins in a critique towards an approach to design that excluded the voices of most or all users and ignored many other stakeholders as well. An inspirational turning point in this critique was the Design Research Society’s 1971 conference that called for design participation, as Sanders and Stappers discuss in this volume. The conference was both an attempt to put design in the service of societal needs and an indication of a maturing self-consciousness among designers who were ready to leave a traditional craft orientation in exchange for a modern repertoire of more openly transparent design methods. Sanders and Stappers offer an interesting mapping of the movements and currents from that time to now. They quote the 1971 talk by futurist Robert Jungk stating that it will take a generation for a design agenda of participation to address participation in idea generation. That turning point highlights how the fields of design and innovation are influenced by longer waves of change underlying the appearance of short-lived trends and fashions. CoDesign Vol. 4, No. 1, March 2008, 1–3