Design Discourse: An Outline of the Terminological Apparatus
Abstract
Design is a relatively young field, increasingly in demand in modern culture – not only within its professionally established limits but also as a technique for generating new ideas and products in business, education, urbanism etc. Strengthening the professional boundaries of design as a form-building activity whose purpose is harmonization of human material environment can be done through a discursive approach. It provides the opportunity to “equalize” the material and ideal origins of design. This article explores the implementation mechanisms and the specific language means of design discourse. The necessity of giving conceptual status of such terms as “concept”, “sketch”, “layout”, “module”, “thing” and various others is shown. This research into the social-communicative aspect of design allows to develop an original and relevant system of concepts that can help not only to analyse the design processes and forms but also to establish its limits. This could help to address a number of more concrete theoretical problems, including specific design methods that distinguish it from artistic, architectural, marketing and general research methods.
Keywords: design, design discourse, design thinking, form, objectivity, project, project implementation, concept
References
[1] Bella, M. and Hanington, B. (2014). Universal’nyye metody dizayna. Saint-Petersburg: Piter.
[2] Glazychev, V. L. (1970). O dizayne: Ocherki po teorii i praktike dizayna na zapade. Moscow: Iskusstvo.
[3] Faust, J. Design Discourse and Discourse Design: Reflections on ”Conveyance Matter”. Retrieved April 15, 2019 from https://www.academia.edu/232793/ Design_Discourse_and_Discourse_Design_Reflections_on_Conveyance_Matter.
[4] Kelly, V. (2015, June). Design as a Discursive Practice: a Working Methodology for Exploring Knowledge Production in Communication Design Using a Critical Orientation to Discourse Analysis. Presented at The Virtuous Circle – Cumulus conference. Milan: McGraw-Hill Education, pp. 1037–1049.
[5] Bystrova, T. Y. (2017). Veshch’, forma, stil’: vvedeniye v filosofiyu dizayna. Yekaterinburg: Kabinetnyy uchenyy.
[6] Milovidov, V. A. (2015). Ot semiotiki teksta k semiotike diskursa. Moscow: Direkt-Media.
[7] Genisaretskiy, O. I. (2006). Proyektnaya kul’tura i kontseptualizm. Gumanitarnaya biblioteka. 16.08.2006. Retrieved July 1, 2019 from https://gtmarket.ru/laboratory/expertize/2006/2682.
[8] Lowson, B. (2005). How Designers Think. The Design Process Demystified (4th ed.) London, New York: Routledge/Architectural Press.
[9] Nelson, G. (1979). Problems of Design. Mankato (Minn.): Whitney Library of Design, p. 191.
[10] Goldschmidt, G. (1991). The Dialectics of Sketching. Creativity Research Journal, vol. 4, issue 2, pp. 23–143.
[11] Björklund, T. A. (2013). Initial Mental Representations of Design Problems: Differences Between Experts and Novices. Design Studies, vol. 34, issue 2, pp. 135–160.
[12] Koleychuk V. F., et al. (1989). Dinamicheskaya i kineticheskaya forma v dizayne. Moscow: VNIITE.
[13] Lidtka, Z. and Ogilvy, T. (2015). Dumay, kak dizayner. Dizayn-myshleniye dlya menedzherov. Moscow: Mann, Ivanov i Ferber.
[14] Braun, T. (2018). Dizayn-Myshleniye: Ot Razrabotki Novykh Produktov Do Proyektirovaniya Biznes- Modeley. Moscow: Mann, Ivanov i Ferber.
[15] Zec, P. and Burkhard, J. (2010). Design Value. A Strategy for Business Success. Essen: Red Dot Edition.