{"id":2085,"date":"2008-03-24T00:02:43","date_gmt":"2008-03-24T04:02:43","guid":{"rendered":"http:\/\/www.nearfuturelaboratory.com\/2008\/03\/24\/what-you-model-is-what-you-get-%e2%80%94%c2%a0some-design-notes\/"},"modified":"2017-08-18T18:02:36","modified_gmt":"2017-08-18T18:02:36","slug":"what-you-model-is-what-you-get-some-design-notes","status":"publish","type":"post","link":"https:\/\/blog.nearfuturelaboratory.com\/2008\/03\/24\/what-you-model-is-what-you-get-some-design-notes\/","title":{"rendered":"What You Model Is What You Get \u2014\u00a0Some Design Notes"},"content":{"rendered":"
<\/p>\n \n"..the next order of business is to de\ufb01ne design. The great American …<\/p>\n "As computers allow us all to work beyond the page, we …<\/p>\n "In an essay on the early modernist de Stijl movement and its potential …<\/p>\n "From WYMIWYM to the globalization of Disney World, one could This, from Peter Lunenfeld’s insightful and brief essay “Media Design: New and Improved Without The New” (New Media & Society Vol6 No. 1 pp.65-70) These nuggets are helping me consider design broadly and understand, however briefly, some of the various perspectives and definitions and approaches that design has taken. I’m particularly intrigued by Peter’s WYMIWYM formulation adjunct to WYSIWYG. It’s kind of perfect and deserves some more fleshing-out.<\/p>\n De Winter, K. (2002) \u2018Thoughts on Originality\u2019, URL (consulted June 2003): http:\/\/ McLuhan, M. (1962) The Gutenberg Galaxy: the Making of Typographic Man. Toronto: Lunenfeld, P. (2003) \u2018The Design Cluster\u2019, in B. Laurel (ed.) Design Research, pp.10\u20135. Technorati Tags: design<\/a><\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" "..the next order of business is to de\ufb01ne design. The great American modernist Charles Eames offered the following: \u2018A plan for arranging elements in such a way as to best accomplish a particular purpose\u2019 (Eames, 1972). This de\ufb01nition situates design as a problem-solving discipline, with problems here de\ufb01ned and solvable mostly within market contexts. The … Continue reading What You Model Is What You Get \u2014\u00a0Some Design Notes<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[31,47,176],"tags":[],"yoast_head":"\n<\/a><\/p>\n
\nmodernist Charles Eames offered the following: \u2018A plan for arranging
\nelements in such a way as to best accomplish a particular purpose\u2019 (Eames,
\n1972). This de\ufb01nition situates design as a problem-solving discipline, with
\nproblems here de\ufb01ned and solvable mostly within market contexts. The
\n1980s and the 1990s saw an explosion of \u2018personal\u2019 design to challenge this
\nproblem-solving methodology, which brought about debates on everything
\nfrom legibility to the dissolving of the boundaries between art and design.<\/em>
\nMore recently, Serges Gagnon has referred to design as \u2018the cultural
\nappropriation of technology\u2019 (cited in De Winter, 2002); a phrase that,
\nwhile appealingly brief and particularly appropriate to a discussion of the
\nimpact of the digital, is also so broad as to remind us that in many ways
\ndesign has become a category beyond categories. Marshall McLuhan used
\nthe term \u2018Gutenberg Galaxy\u2019 to describe the effects of the printed book on
\nhuman culture (McLuhan, 1962). Astronomers group galaxies by clusters,
\nand I have claimed that now, we all live in the Design Cluster (Lunenfeld, 2003)"<\/p>\n
\nwill no doubt see a similar expansion and devaluation of industrial design
\nclusters as Glaser noted of graphic design. In other words, just as PostScript
\nprinting software brought us WYSIWYG (what you see is what you get), a
\nthree-dimensional era of WYMIWYM (what you model is what you
\nmanufacture) will soon be upon us."<\/p>\n
\nimpact on media design, Jessica Helfand notes that \u2018the opportunity to
\nde\ufb01ne \u2013 even celebrate \u2013 precision lies at the heart of what [designers] can
\nand should do\u2019 (Helfand, 2002). This attention to rigor, the desire to make
\nas well as consume, the modesty of service, the belief in beauty and pleasure
\nas beautiful and pleasurable in and of themselves, even the acceptance of its
\nposition within market economies \u2013 all of these and more really situate
\ndesign as an exemplar for getting past the unresolved disputes of the 20th
\ncentury, and exploring what could really be \u2018new\u2019 about media design."<\/p>\n
\nconstruct a depressingly banal catalogue of the market-driven manifestations
\nof digitally-enabled design. What of more sanguine effects? Within this
\ndigitization, is there potential to revive some of the utopian aspirations of
\nearly 20th-century design? Is it worth reviving the idea that design should
\ncodify and clarify the stuff of the world, making it easier for citizens…to determine decisions about their lives? Modern design was supposed to guide the citizen…through the
\ncomplexities of science, public policy, ideology, and even consumer choice in order to render decisions in coherent and rational ways. There is much there worth rehabilitating… What the computer, linked to a network, does to these issues is to expand both the range of makers and the nature of design\u2019s audience, potentially creating a real public that understands, and in fact demands, a measure of social and environmental responsibility from the Design Cluster."<\/p>\n<\/blockquote>\n
\n
\nwww.mosne.lacab.it\/art-design\/dispense\/ragazzo\/Originality.html<\/p>\n
\nUniversity of Toronto Press.<\/p>\n
\nCambridge, MA: MIT Press.
\n<\/p>\n