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THE DESIGN DILEMMA: A STUDY OF THE ...

ROSEFELT, MARCIA M. O. SAMPAIO.

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THE DESIGN DILEMMA: A STUDY OF THE NEW MORALITY OF INDUSTRIAL DESIGN IN WESTERN SOCIETIES.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	THE DESIGN DILEMMA: A STUDY OF THE NEW MORALITY OF INDUSTRIAL DESIGN IN WESTERN SOCIETIES./
作者:	ROSEFELT, MARCIA M. O. SAMPAIO.
面頁冊數:	416 p.
附註:	Source: Dissertation Abstracts International, Volume: 47-08, Section: A, page: 2858.
Contained By:	Dissertation Abstracts International47-08A.
標題:	Education, Art. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8625652

THE DESIGN DILEMMA: A STUDY OF THE NEW MORALITY OF INDUSTRIAL DESIGN IN WESTERN SOCIETIES.
ROSEFELT, MARCIA M. O. SAMPAIO.

THE DESIGN DILEMMA: A STUDY OF THE NEW MORALITY OF INDUSTRIAL DESIGN IN WESTERN SOCIETIES. - 416 p.

Source: Dissertation Abstracts International, Volume: 47-08, Section: A, page: 2858.

Thesis (Ph.D.)--New York University, 1986.

This study reviews postmodern theories of design (Bonsiepe; Maldonado; Nelson; Papanek; Chermayeff; Alexander; Christopher Jones) as they relate to socio-economic and political reform. It offers a revision of modern design theory since Ruskin and Morris. The revision investigates relationships between design, art, and the socialist ideal, and draws correlations between ideologies and form. It examines the dialectic of artistic and socio-political change and describes the conflicts between art and science which design has had to resolve. The debate between rationalism and intuitionism prolongs itself intensely in postmodernism and leads to a split between art and design, which is manifested in the methodological movement (Jones, 1963-1981).Subjects--Topical Terms:

1018432
Education, Art.

THE DESIGN DILEMMA: A STUDY OF THE NEW MORALITY OF INDUSTRIAL DESIGN IN WESTERN SOCIETIES.
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245 1 4 $a THE DESIGN DILEMMA: A STUDY OF THE NEW MORALITY OF INDUSTRIAL DESIGN IN WESTERN SOCIETIES.
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500 $a Source: Dissertation Abstracts International, Volume: 47-08, Section: A, page: 2858.
502 $a Thesis (Ph.D.)--New York University, 1986.
520 $a This study reviews postmodern theories of design (Bonsiepe; Maldonado; Nelson; Papanek; Chermayeff; Alexander; Christopher Jones) as they relate to socio-economic and political reform. It offers a revision of modern design theory since Ruskin and Morris. The revision investigates relationships between design, art, and the socialist ideal, and draws correlations between ideologies and form. It examines the dialectic of artistic and socio-political change and describes the conflicts between art and science which design has had to resolve. The debate between rationalism and intuitionism prolongs itself intensely in postmodernism and leads to a split between art and design, which is manifested in the methodological movement (Jones, 1963-1981).
520 $a In advanced societies, the idea of revolution which mobilized early modernism is replaced by piecemeal evolvements. Analysis subdues vision and the modern systemic approach of unitary wholes develops into complex systems of movable patterns. Design methodology turns increasingly into long and detailed processes of metadesign and becomes concerned with the form of the problem rather than the aesthetics of the product. A design problem absorbs everything in itself, tangible and intangible, that may influence the design of an object.
520 $a This research investigates basic systemic views influencing postmodern knowledge, design, and political measures. While design increases its scope, it also questions its sense of effectiveness and seeks to limit itself. The responsibility to design the world becomes fundamentally questioned as an aesthetic, technological, or administrative imposition. The general emancipation process requires a formulation capable of breaks and adaptation in order to preclude an authoritarian line of action. Design responds by questioning its effect upon the infrastructure rather than upon the surface.
520 $a It is a proposition of this study that the incompatibilities between unitary or coherent methodological approaches are overcome by new systematic views in which reality is a combination of highly composed sets, and interactions happen within constitutive elements rather than among wholes. This view may substantiate eclecticism, popular creation, and the development of form and beauty as a function for design.
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