Muutke küpsiste eelistusi

E-raamat: The Ontology of Design Research

5.00/5 (2 hinnangut Goodreads-ist)
Teised raamatud teemal:
  • Formaat - PDF+DRM
  • Hind: 49,39 €*
  • * hind on lõplik, st. muud allahindlused enam ei rakendu
  • Lisa ostukorvi
  • Lisa soovinimekirja
  • See e-raamat on mõeldud ainult isiklikuks kasutamiseks. E-raamatuid ei saa tagastada.
The Ontology of Design ResearchSuurem pilt

DRM piirangud

  • Kopeerimine (copy/paste):

    ei ole lubatud

  • Printimine:

    ei ole lubatud

  • Kasutamine:

    Digitaalõiguste kaitse (DRM)
    Kirjastus on väljastanud selle e-raamatu krüpteeritud kujul, mis tähendab, et selle lugemiseks peate installeerima spetsiaalse tarkvara. Samuti peate looma endale  Adobe ID Rohkem infot siin. E-raamatut saab lugeda 1 kasutaja ning alla laadida kuni 6'de seadmesse (kõik autoriseeritud sama Adobe ID-ga).

    Vajalik tarkvara
    Mobiilsetes seadmetes (telefon või tahvelarvuti) lugemiseks peate installeerima selle tasuta rakenduse: PocketBook Reader (iOS / Android)

    PC või Mac seadmes lugemiseks peate installima Adobe Digital Editionsi (Seeon tasuta rakendus spetsiaalselt e-raamatute lugemiseks. Seda ei tohi segamini ajada Adober Reader'iga, mis tõenäoliselt on juba teie arvutisse installeeritud )

    Seda e-raamatut ei saa lugeda Amazon Kindle's. 

"This book seeks to establish the meaning of design research, its role in the field, and the characteristics that differentiate research in design from research in other fields. The author introduces a model to explain the relationship between the components of the ontological reality of design: the designed object, the designer, and the user. Addressing design research across disciplines, the author establishes a foundational understanding of research, and research paradigms, for the design disciplines.This will be crucial for the emerging field of design research to find its own identity and move forward, building its own knowledge base as it finds its positioning between science and art. The book will be of interest to scholars working in design history, design studies, graphic design, industrial design, interior design, architecture, fashion design, and service design"--

This book seeks to establish the meaning of design research, its role in the field, and the characteristics that differentiate research in design from research in other fields.

The author introduces a model to explain the relationship between the components of the ontological reality of design: the designed object, the designer, and the user. Addressing design research across disciplines, the author establishes a foundational understanding of research, and research paradigms, for the design disciplines. This will be crucial for the emerging field of design research to find its own identity and move forward, building its own knowledge base as it finds its positioning between science and art.

The book will be of interest to scholars working in design history, design studies, graphic design, industrial design, interior design, architecture, fashion design, and service design.

List of Figures
xi
Acknowledgements xii
Foreword xiii
Author's Note xv
About This Book xvii
Introduction 1(8)
Delimiting the Term `Design' in This Book
3(1)
Design and Philosophy
4(2)
Content of the Book
6(1)
About the Bibliographical and Documentary Sources Referenced
7(2)
1 Design Research: A First Approach To The Problem
9(15)
1.1 Design and Research
9(2)
1.2 How Design Research Is Conceived
11(10)
1.2.1 Research Focused on the Practice of Design
11(2)
1.2.2 Academic Research in the Field of Design
13(1)
1.2.3 Research in Design and Design Studies
13(1)
1.2.4 Research for Design, into Design, and through Design
14(2)
1.2.5 Lab, Field, and Showroom: Three Approaches to Design Research
16(2)
1.2.6 Clinical, Applied, and Basic Research
18(1)
1.2.7 Scholarly Research, Pure Research, Developmental Research, and Applied Research in the Creative Arts and Design
19(1)
1.2.8 Endogenous and Exogenous Design Research
19(1)
1.2.9 Reflecting on the Previous Proposals
20(1)
1.3 Design and Research: One Single Equation with Two Solutions
21(3)
2 Design And Its Ontological Reality: Defining The Problem
24(11)
2.1 The Multiple and Fragmented Ways of Looking at Design
24(3)
2.2 Conceiving Design as Two Worlds under a Single Reality
27(1)
2.3 Reality as the Object of Study in Research
28(1)
2.4 The Universal and Timeless Reality of Design: Its Synchronic and Diachronic Dimensions
29(1)
2.5 The Ontological Reality of Design
30(1)
2.6 Components of the Ontological Reality of Design
31(2)
2.7 How to Understand Design Research
33(2)
3 The User In The Ontological Reality Of Design
35(7)
3.1 What Is It that Defines the User?
35(1)
3.2 The User as a Human Being, Social Being, and Individual Person
36(4)
3.2.1 User as a Human Being
36(2)
3.2.2 User as a Social Being
38(1)
3.2.3 User as an Individual Person
39(1)
3.3 Other Users
40(1)
3.4 User, Customer, or Consumer?
41(1)
4 The Designer
42(32)
4.1 To Know: Knowledge and Skills
43(10)
4.1.1 Design Methods
45(1)
4.1.2 Visual Language
45(2)
4.1.3 Graphic Expression
47(1)
4.1.4 Spatial Ability
48(1)
4.1.5 Project and Creativity in Design
49(3)
4.1.6 Interdisciplinary Work
52(1)
4.2 To Feel: Social Commitment, Ethics and Values
53(8)
4.2.1 Design: As a Strategic Factor in the World Economic Model
54(1)
4.2.2 Design with Human Interest versus Design with Economic Interest
54(3)
4.2.3 The Designer's Margin of Action in Social Responsibility
57(1)
4.2.4 The `Responsible' Care of the Corporate Image
57(1)
4.2.5 Beyond the Corporate Image
58(1)
4.2.6 Ethics and Values of the Designer
59(2)
4.3 To Believe: Perspectives and Approaches to Design
61(13)
4.3.1 User-centred Design
62(1)
4.3.2 Emotional Design
62(1)
4.3.3 Sensory Design
62(2)
4.3.4 Inclusive Design
64(1)
4.3.5 Ecological Design
64(2)
4.3.6 Intercultural Design
66(1)
4.3.7 Participatory Design
67(1)
4.3.8 Critical Design
68(1)
4.3.9 Transition Design
69(1)
4.3.10 Other Design Approaches
70(1)
4.3.11 Function and Responsibility of Design
71(3)
5 The Designed Object
74(30)
5.1 Form and Function in Design
75(8)
5.1.1 Modernism, Postmodernism, and Good Design
76(3)
5.1.2 Functionalism, Formalism, and Pragmatism
79(3)
5.1.3 Other Approaches
82(1)
5.2 The Design Object, Culture, and Social Meaning
83(1)
5.3 Use and Enjoyment of the Product
84(1)
5.4 Beyond the Use of the Object
85(6)
5.4.1 The Experience of Use and Emotions
86(1)
5.4.2 Objects and Their Particular Meanings
86(1)
5.4.3 The Object and Aesthetic Experience
87(1)
5.4.4 Aesthetics as Human Necessity
88(1)
5.4.5 Aesthetics: Between the Subjective and the Objective
89(1)
5.4.6 The Composition of Form in the Design Object
90(1)
5.5 The Evolution and Re-conception of the Design Object
91(13)
5.5.1 Usability and Habitability of Virtual Spaces
91(6)
5.5.2 Services and Design
97(4)
5.5.3 The Evolution of Design Objects
101(3)
6 The Components Of The Ontological Reality Of Design And The Relationships Between Them
104(6)
6.1 The User-Object Relationship
104(1)
6.2 The Relationship between the Designer and the User
104(1)
6.3 The Relationship between Designer and Object
105(1)
6.4 The Reality of Design as the Object of Study in Research
105(1)
6.5 The Ontological and Integral Reality in the Act of Design
106(1)
6.6 Typology of Design Research according to Its Specific Object of Study
106(2)
6.6.1 Research Focused on the Design User
107(1)
6.6.2 Research Focused on the Designer
107(1)
6.6.3 Research Focused on the Design Project Process
107(1)
6.6.4 Research Focused on the Designed Object
108(1)
6.6.5 Research Focused on the Discipline
108(1)
6.7 Defining the Object of Study and the Way to Approach It
108(1)
6.8 Design and World View
108(2)
7 Frame And Context: Preparatory Phase For Research
110(17)
7.1 Epistemology
111(3)
7.1.1 Objectivism
112(1)
7.1.2 Subjectivism
113(1)
7.1.3 Constructionism
113(1)
7.2 Ontology
114(2)
7.2.1 Realism
115(1)
7.2.2 Idealism
116(1)
7.3 Paradigms and Research Approaches
116(11)
7.3.1 Positivist Paradigm
119(2)
7.3.2 Post-positivist Paradigm
121(1)
7.3.3 Interpretive Paradigm
122(2)
7.3.4 Constructionist Paradigm
124(3)
8 Paradigms, Pragmatism, And Design Research
127(15)
8.1 Pragmatism as an Alternative of Thought and Action for Design Research
128(1)
8.2 Peirce's Pragmatism: Some Fundamental Ideas
129(4)
8.2.1 Peirce: The Pragmatic Maximum
129(1)
8.2.2 Induction, Deduction, and Abduction
130(1)
8.2.3 Habits of Action
131(1)
8.2.4 Pragmatism, Dualism, and Synechism
132(1)
8.3 William James: Pragmatism, Truth, Utility
133(1)
8.3.1 James's Pragmatic Maximum
133(1)
8.3.2 James and the Meaning of Truth
133(1)
8.4 Pragmatism and Mixed Research Methods
134(1)
8.5 Pragmatism and the Reality of Design
135(2)
8.5.1 Design, Art, and Technique: A Differentiated Activity
135(1)
8.5.2 Design: Its Complex Reality
136(1)
8.6 A Pragmatic Approach to Design Research
137(5)
9 Conclusions
142(3)
Appendix: Reinterpreting Frayling 145(3)
References 148(10)
Index 158
Miguel Ángel Herrera Batista is a research-professor at the School of Science and Arts of Design at the Universidad Autónoma Metropolitana.
Lisainfo e-raamatute kohta Lisainfo e-raamatute kohta
Püsilink: https://www.kriso.ee/db/97810002195792e.html
Märksõnad: