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http://hdl.handle.net/1942/40102Full metadata record
| DC Field | Value | Language |
|---|---|---|
| dc.contributor.author | Kosten, Niek | - |
| dc.contributor.author | HUYBRECHTS, Liesbeth | - |
| dc.date.accessioned | 2023-05-12T13:32:18Z | - |
| dc.date.available | 2023-05-12T13:32:18Z | - |
| dc.date.issued | 2023 | - |
| dc.date.submitted | 2023-05-12T10:39:20Z | - |
| dc.identifier.citation | Design issues, 39 (2) , p. 72 -85 (Art N° 7) | - |
| dc.identifier.issn | 0747-9360 | - |
| dc.identifier.uri | http://hdl.handle.net/1942/40102 | - |
| dc.description.abstract | Contemporary design discourse needs words to discuss its role in everyday life. Therefore, this article rethinks the meaning and value of the term “vernacular design” in contemporary society, with a focus on vernacular graphic design. We argue that the domain needs an interpretation that is more attuned to novel approaches around hybridity and plurality in design. We frame this development from a theoretical perspective by introducing the concept of hypervernacular as a relational and plural approach. We ground our conceptual argument through a case study description that explores the everyday, ubiquitous, and more-than-human position of the plant species Japanese knotweed through collaboration. | - |
| dc.language.iso | en | - |
| dc.publisher | MIT Press | - |
| dc.subject.other | vernacular design | - |
| dc.subject.other | graphic design | - |
| dc.subject.other | participation | - |
| dc.subject.other | more-than-human | - |
| dc.title | Hypervernacular Design: Rethinking the Vernacular Design Paradigm | - |
| dc.type | Journal Contribution | - |
| dc.identifier.epage | 85 | - |
| dc.identifier.issue | 2 | - |
| dc.identifier.spage | 72 | - |
| dc.identifier.volume | 39 | - |
| local.format.pages | 13 | - |
| local.bibliographicCitation.jcat | A1 | - |
| local.publisher.place | Massachusetts | - |
| dc.relation.references | 1 Amos Rapoport, “Vernacular Design as a Model System,” in Vernacular Architecture in the 21st Century: Theory, Education and Practice (London: Taylor & Francis, 2005); and Ellen Lupton, “High and Low (a Strange Case of Us and Them?),” Eye, 1992, www.eyemagazine. com/feature/article/high-and-low-astrange- case-of-us-and-them (accessed May 20, 2022). 2 Gerry Beegan and Paul Atkinson, “Professionalism, Amateurism and the Boundaries of Design,” Journal of Design History 21, no. 4 (December 1, 2008): 305–13. 3 Ibid., 1. 4 Kristian Bjørnard, “Vernacular Principles (and Their Application Today),” (paper presentation, AIGA Design Educators Conference, Toledo, OH, May 15–16, 2010). 5 Robert Venturi, Denise Scott Brown, and Steven Izenour, Learning from Las Vegas (Cambridge, MA: MIT Press, 2017). 6 Rick Poynor, “Out of the Studio: Graphic Design History and Visual Studies,” Design Observer, January 11, 2011, www.designobserver.com/feature/ out-of-the-studio-graphic-designhistory-and-visual-studies/24048/ (accessed May 2, 2022); and Lupton, High and Low, 1. 7 Ellen Lupton, Mixing Messages: Graphic Design in Contemporary Culture (New York: Princeton Architectural Press, 1996). 8 See, e.g., “Biennial of Design: BIO27 Super Vernaculars – Design for a Regenerative Future” (exhibition), Ljubljana, Slovenia: Museum of Architecture and Design (MAO), May 26–September 29, 2022. For discussions on the “new London vernacular,” see, e.g., Dirk Somers, “Pluralism and the Urban Landscape: Towards a Strategic Eclecticism,” Architectural Design 91, no. 1 (January 1, 2021): 56–63. For ideas around vernacular technological knowledge transfer, see, e.g., Tegan Bristow, “A School for Vernacular Algorithms: Knowledge Transfer as a System and Aesthetic Algorithmic Encounter,” Diid — Disegno Industriale Industrial Design, no. 76 (May 14, 2022): 10. 9 Rapoport, Vernacular Design as a Model System, 1; Maiken Umbach and Bernd Hüppauf, eds., Vernacular Modernism: Heimat, Globalization, and the Built Environment (Stanford: Stanford University Press, 2005); and Kenneth Frampton, “Towards a Critical Regionalism: Six Points for an Architecture of Resistance,” in Anti-Aesthetic. Essays on Postmodern Culture, ed. Hal Foster (Seattle, WA: Bay Press, 1983), 18–30. 10 Teal Triggs, “Graphic Design History: Past, Present, and Future,” Design Issues 27, no. 1 (Winter 2011): 3–6; Audrey Bennett, “The Rise of Research in Graphic Design,” in Design Studies: Theory and Research in Graphic Design (New York: Princeton Architectural Press, 2006); and Sara De Bondt and Catherine de Smet, eds., Graphic Design: History in the Writing (1983–2011) (London: Occasional Papers, 2014). 11 Lupton, Mixing Messages, 2. 12 Rick Poynor, No More Rules: Graphic Design and Postmodernism (London: Laurence King, 2003). 13 Ezio Manzini, Design, When Everybody Designs, trans. Rachel Coad (Cambridge, MA: MIT Press, 2015). 14 Nigel Cross, Designerly Ways of Knowing (London: Springer, 2006). 15 Beegan and Atkinson, “Professionalism, Amateurism,” 1. 16 Angus Donald Campbell, “Lay Designers: Grassroots Innovation for Appropriate Change,” Design Issues 33, no. 1 (Winter 2017): 30–47. 17 Bernd Hüppauf, “Spaces of the Vernacular: Ernst Bloch’s Philosophy of Hope and the German Hometown,” in Vernacular Modernism. Heimat, Globalization, and the Built Environment, ed. Maiken Umbach and Bernd Hüppauf (Stanford: Stanford University Press, 2005), 84–113. 18 Maiken Umbach and Bernd Hüppauf, “Vernacular Modernism” in Vernacular Modernism: Heimat, Globalization, and the Built Environment, ed. Maiken Umbach and Bernd Hüppauf (Stanford: Stanford University Press, 2005), 1–23. 19 Niek Kosten, “Fanlab,” MANUFACTUUR 3.0 (exhibition), Hasselt, Belgium: Z33, October 1, 2016–January 8, 2017. 20 Mark Doidge and Martin Lieser, “The Importance of Research on the Ultras: Introduction,” Sport in Society 21, no. 6 (June 3, 2018): 833–40. 21 Umbach and Hüppauf, Vernacular Modernism, 3. 22 Bruno Latour, Down to Earth. Politics in the New Climatic Regime, trans. Catherine Porter (Cambridge, UK: Polity Press, 2018). 23 Umbach and Hüppauf, Vernacular Modernism, 3. 24 Latour, Down to Earth, 4. 25 Ibid. 26 John Law, “What’s Wrong with a One-World World?,” Distinktion: Scandinavian Journal of Social Theory 16 (2015): 126–39; and Marisol de la Cadena and Mario Blaser, eds., A World of Many Worlds (Durham, NC: Duke University Press, 2018). 27 Umbach and Hüppauf, Vernacular Modernism, 3. 28 Latour, Down to Earth, 4. 29 Ibid. 30 See, e.g., Manuhuia Barcham, “Weaving Together a Decolonial Imaginary Through Design for Effective River Management: Pluriversal Ontological Design in Practice,” Design Issues 38, no. 1 (Winter 2022): 5–16; Rachel Charlotte Smith et al., “Decolonizing Participatory Design: Memory Making in Namibia,” in PDC ‘20: Proceedings of the 16th Participatory Design Conference 2020—Participation(s) Otherwise—Volume 1 (New York: ACM, 2020), 96–106; Laura Forlano, “Decentering the Human in the Design of Collaborative Cities,” Design Issues 32, no. 3 (Summer 2016): 42–54; and Carl DiSalvo and Jonathan Lukens, “Nonanthropocentrism and the Nonhuman in Design: Possibilities for Designing New Forms of Engagement With and Through Technology,” in From Social Butterfly to Engaged Citizen: Urban Informatics, Social Media, Ubiquitous Computing, and Mobile Technology to Support Citizen Engagement, ed. Marcus Foth et al. (Cambridge, MA: MIT Press, 2011), 421–35. 31 Arturo Escobar, Designs for the Pluriverse: Radical Interdependence, Autonomy, and the Making of Worlds (Raleigh, NC: Duke University Press, 2018); and de la Cadena and Blaser, A World of Many Worlds, 4. 32 de la Cadena and Blaser, A World of Many Worlds, 4. 33 Brian Massumi, “Translator’s Foreword: Pleasures of Philosophy,” in A Thousand Plateaus: Capitalism and Schizophrenia by Gilles Deleuze and Félix Guattari (Minneapolis, MN: University of Minnesota Press, 1987), ix–xv. 34 Marisol de la Cadena, “Earth-Beings: Andean Indigenous Religion, but Not Only,” in The World Multiple (London: Routledge, 2018), 21–36. 35 Prasad Boradkar, “From Form to Context: Teaching a Different Type of Design History,” in The Education of a Graphic Designer, 3rd ed. (New York: Allworth Press, 2015), 124–28. 36 Timothy Morton, Hyperobjects: Philosophy and Ecology after the End of the World, Posthumanities, ed. Cary Wolfe (Minneapolis, MN: University of Minnesota Press, 2013). 37 Ibid., 190–91. 38 Carl DiSalvo, Adversarial Design (Cambridge, MA: MIT Press, 2012). 39 Instead of the term alien invasive, the less stigmatizing non-native and abundant terminologies are debated in critical plant studies. See, e.g., Christian A. Kull, “Critical Invasion Science: Weeds, Pests, and Aliens,” in The Palgrave Handbook of Critical Physical Geography, ed. Rebecca Lave, Christine Biermann, and Stuart N. Lane (Cham, Switzerland: Springer International Publishing, 2018), 249–72. 40 Daniel Simberloff and Marcel Rejmanek, eds., “100 of the World’s Worst Invasive Alien Species: A Selection From The Global Invasive Species Database,” in Encyclopedia of Biological Invasions (Berkeley, CA: University of California Press, 2011), 715–16, https://doi. org/10.1525/9780520948433-159. 41 James H. Wandersee and Elisabeth E. Schussler, “Preventing Plant Blindness,” The American Biology 42 Manzini, Design, When Everybody Designs, 3. 43 John Law, “Making a Mess with Method,” in The Sage Handbook of Social Science Methodology, ed. William Outhwaite and Stephen P. Turner (London: Sage, 2007), 595–606. DesignIssues: Volume 39, Number 2 Spring 2023 44 Ng Lay Sion, “Understanding the Nonhuman Agency: The Creativity of Matter,” Issues under the Tissues (blog), 2018, https://issuesundertissues.com/understanding- the-nonhuman-agency-the-creativity-of-matter/ (accessed June 12, 2022). 45 Marcello Barbieri, “What Is Biosemiotics?,” Biosemiotics 1, no. 1 (2008): 1–3. 46 Anthony Trewavas, “Mindless Mastery,” Nature 415 (March 1, 2002): 841. 47 David J. Beerling, John P. Bailey, and Ann P. Conolly, “Fallopia Japonica (Houtt.) Ronse Decraene,” Journal of Ecology 82, no. 4 (1994): 959–79. 48 Anthony Trewavas, “Aspects of Plant Intelligence,” Annals of Botany 92 (August 1, 2003): 1–20; and Lesley Head, Jennifer Atchison, and Catherine Phillips, “The Distinctive Capacities of Plants: Re- Thinking Difference via Invasive Species,” Transactions of the Institute of British Geographers 40 (July 1, 2015): 399–413. 49 Louis Rice, “Occupied Space,” Architectural Design 83, no. 6 (November 1, 2013): 70–75. 50 Louis Rice, “Nonhumans in Participatory Design,” CoDesign 14, no. 3 (July 3, 2018): 238 | - |
| local.type.refereed | Refereed | - |
| local.type.specified | Article | - |
| local.bibliographicCitation.artnr | 7 | - |
| dc.identifier.doi | 10.1162/desi_a_00718 | - |
| dc.identifier.isi | WOS:000957216600006 | - |
| local.provider.type | Web of Science | - |
| local.uhasselt.international | no | - |
| item.fulltext | With Fulltext | - |
| item.fullcitation | Kosten, Niek & HUYBRECHTS, Liesbeth (2023) Hypervernacular Design: Rethinking the Vernacular Design Paradigm. In: Design issues, 39 (2) , p. 72 -85 (Art N° 7). | - |
| item.accessRights | Open Access | - |
| item.contributor | Kosten, Niek | - |
| item.contributor | HUYBRECHTS, Liesbeth | - |
| crisitem.journal.issn | 0747-9360 | - |
| Appears in Collections: | Research publications | |
Files in This Item:
| File | Description | Size | Format | |
|---|---|---|---|---|
| 009_desi_a_00717_Kosten_vB.pdf Restricted Access | Published version | 1.4 MB | Adobe PDF | View/Open Request a copy |
| Kosten, Niek-#4-Pretag NK.pdf | Peer-reviewed author version | 346.84 kB | Adobe PDF | View/Open |
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