Design

Drawing from narratology and design studies, this article makes use of the notions of the ‘implied designer’ and ‘ludic unreliability’ to understand deceptive game design as a specific sub-set of transgressive game design. More specifically, in this text we present deceptive game design as the deliberate attempt to misguide players’ inferences about the designers’ intentions. Furthermore, we argue that deceptive design should not merely be taken as a set of design choices aimed at misleading players in their efforts to understand (...) the game, but also as decisions devised to give rise to experiential and emotional effects that are in the interest of players. Finally, we propose to introduce a distinction between two varieties of deceptive design approaches based on whether they operate in an overt or a covert fashion in relation to player experience. Our analysis casts light on expressive possibilities that are not customarily part of the dominant paradigm of user-centered design, and can inform game designers in their pursuit of wider and more nuanced creative aspirations. (shrink)

The value sensitive design (VSD) approach to designing transformative technologies for human values is taken as the object of study in this chapter. VSD has traditionally been conceptualized as another type of technology or instrumentally as a tool. The various parts of VSD’s principled approach would then aim to discern the various policy requirements that any given technological artifact under consideration would implicate. Yet, little to no consideration has been given to how laws, regulations, policies and social norms engage within (...) VSD practices. Similarly, how the interactive nature of the VSD approach can, in turn, influence those directives. This is exacerbated when we consider machine ethics policy that have global consequences outside their development spheres. What constructs and models will position AI designers to engage in policy concerns? How can the design of AI policy be integrated with technical design? How might VSD be used to develop AI policy? How might law, regulations, social norms, and other kinds of policy regarding AI systems be engaged within value sensitive design? This chapter takes the VSD as its starting point and aims to determine how laws, regulations and policies come to influence how value trade-offs can be managed within VSD practices. It shows that the iterative and interactional nature of VSD both permits and encourages existing policies to be integrated both early on and throughout the design process. The chapter concludes with some potential future research programs. (shrink)

Design for Values (DfV) philosophies are a series of design approaches that aim to incorporate human values into the early phases of technological design to direct innovation into beneficial outcomes. The difficulty and necessity of directing advantageous futures for transformative technologies through the application and adoption of value-based design approaches are apparent. However, questions of whose values to design are of critical importance. DfV philosophies typically aim to enrol the stakeholders who may be affected by the emergence of such a (...) technology. However, regardless of which design approach is adopted, all enrolled stakeholders are human ones who propose human values. Contemporary scholarship on metahumanisms, particularly those on posthumanism, have decentred the human from its traditionally privileged position among other forms of life. Arguments that the humanist position is not (and has never been) tenable are persuasive. As such, scholarship has begun to provide a more encompassing ontology for the investigation of nonhuman values. Given the potentially transformative nature of future technologies as relates to the earth and its many assemblages, it is clear that the value investigations of these design approaches fail to account for all relevant stakeholders (i.e., nonhuman animals). This paper has two primary objectives: (1) to argue for the cogency of a posthuman ethics in the design of technologies; and (2) to describe how existing DfV approaches can begin to envision principled and methodological ways of incorporating non-human values into design. To do this, the paper provides a rudimentary outline of what constitutes DfV approaches. It then takes up a unique design approach called Value Sensitive Design (VSD) as an illustrative example. Out of all the other DfV frameworks, VSD most clearly illustrates a principled approach to the integration of values in design. (shrink)

Value Sensitive Design (VSD) is an established method for integrating values into technical design. It has been applied to different technologies and, more recently, to artificial intelligence (AI). We argue that AI poses a number of challenges specific to VSD that require a somewhat modified VSD approach. Machine learning (ML), in particular, poses two challenges. First, humans may not understand how an AI system learns certain things. This requires paying attention to values such as transparency, explicability, and accountability. Second, ML (...) may lead to AI systems adapting in ways that ‘disembody’ the values embedded in them. To address this, we propose a threefold modified VSD approach: 1) integrating a known set of VSD principles (AI4SG) as design norms from which more specific design requirements can be derived; 2) distinguishing between values that are promoted and respected by the design to ensure outcomes that not only do no harm but also contribute to good; and 3) extending the VSD process to encompass the whole life cycle of an AI technology in order to monitor unintended value consequences and redesign as needed. We illustrate our VSD for AI approach with an example use case of a SARS-CoV-2 contact tracing app. (shrink)

In this panel, we explore the future of value sensitive design (VSD). The stakes are high. Many in public and private sectors and in civil society are gradually realizing that taking our values seriously implies that we have to ensure that values effectively inform the design of technology which, in turn, shapes people’s lives. Value sensitive design offers a highly developed set of theory, tools, and methods to systematically do so.

Safe-by-Design (SBD) frameworks for the development of emerging technologies have become an ever more popular means by which scholars argue that transformative emerging technologies can safely incorporate human values. One such popular SBD methodology is called Value Sensitive Design (VSD). A central tenet of this design methodology is to investigate stakeholder values and design those values into technologies during early stage research and development (R&D). To accomplish this, the VSD framework mandates that designers consult the philosophical and ethical literature to (...) best determine how to weigh moral trade-offs. However, the VSD framework also concedes the universalism of moral values, particularly the values of freedom, autonomy, equality trust and privacy justice. This paper argues that the VSD methodology, particularly applied to nano-bio-info-cogno (NBIC) technologies, has an insufficient grounding for the determination of moral values. As such, an exploration of the value-investigations of VSD are deconstructed to illustrate both its strengths and weaknesses. This paper also provides possible modalities for the strengthening of the VSD methodology, particularly through the application of moral imagination and how moral imagination exceed the boundaries of moral intuitions in the development of novel technologies. (shrink)

The purpose of this paper is to review and critique Wessel Reijers and Bert Gordijn’s paper Moving from value sensitive design to virtuous practice design. In doing so, it draws on recent literature on developing value sensitive design (VSD) to show how the authors’ virtuous practice design (VPD), at minimum, is not mutually exclusive to VSD. This paper argues that virtuous practice is not exclusive to the basic methodological underpinnings of VSD. This can therefore strengthen, rather than exclude the VSD (...) approach. Likewise, this paper presents not only a critique of what was offered as a “potentially fruitful alternative to VSD” but further clarifies and contributes to the VSD scholarship in extending its potential methodological practices and scope. It is concluded that VPD does not appear to offer any original contribution that more recent instantiations of VSD have not already proposed and implemented. (shrink)

A new book by Batya Friedman and David G. Hendry, Value Sensitive Design: Shaping Technology with Moral Imagination, is reviewed. Value Sensitive Design is a project into the ethical and design issues that emerge during the engineering programs of new technologies. This book is intended to build on the over two decades of value sensitive design research, however with a greater emphasis on the developments of the theoretical underpinnings of the approach as well as initial steps that designers can employ (...) to put the method into practice. (shrink)

Emerging technologies such as cloud computing, augmented and virtual reality, artificial intelligence and robotics, among others, are transforming the field of manufacturing and industry as a whole in unprecedent ways. This fourth industrial revolution is consequentially changing how operators that have been crucial to industry success go about their practices in industrial environments. This short paper briefly introduces the notion of the Operator 4.0 as well as how this novel way of conceptualizing the human operator necessarily implicates human values in (...) the technologies that constitute it. Similarly, the design methodology known as value sensitive design (VSD) is drawn upon to discuss how these Operator 4.0 technologies can be design for human values and, conversely, how a potential value-sensitive Operator 4.0 can be used to strengthen the VSD methodology in developing novel technologies. (shrink)

The article, speaking from the double perspective of media history and political aesthetics, discusses the impact of behaviourism and early computer technology on the design of learning environments in the United States after the Second World War. By revisiting B. F. Skinner’s approaches to behavioural techniques and cultural engineering, and by showing how these principles were applied first at US design departments, and later to prison education, it argues that cybernetic and behavioural techniques merged in the common field of design (...) and education. Behavioural design of the 1960s and 1970s furthered the cybernetic dream of total control over the world by addressing the learning environment rather than the individual, and operated within a space of possibility that was governed equally by technology and aesthetics. Behavioural design can therefore be understood as a political technology. (shrink)

If there is nothing more to architecture than design –and to its attendant thinking processes–than design thinking, then core dimensions of the architectural enterprise from the perspective of (a) production and (b) use have no special character, over and above their counterparts in general design. Yet that does not appear to be true by the lights of architects or design specialists or the public at large. So what is it, at the core or periphery of the discipline or its objects, (...) that makes architecture not design? The ways in which architecture and design constitute artistic enterprises, drawing on and promoting aesthetic interest, differ such that architecture is not, or at least not only, a branch of or variation on design generally construed. (shrink)

As engineering applications require management of ever larger volumes of data, ontologies offer the potential to capture, manage, and augment data with the capability for automated reasoning and semantic querying. Unfortunately, considerable barriers hinder wider deployment of ontologies in engineering. Key among these is lack of a shared top-level ontology to unify and organise disparate aspects of the field and coordinate co-development of orthogonal ontologies. As a result, many engineering ontologies are limited to their scope, and functionally difficult to extend (...) or interoperate with other engineering ontologies. This paper demonstrates how the use of a top-level ontology, specifically the Basic Formal Ontology (BFO), greatly facilitates interoperability of multiple engineering-related ontologies. We constructed a system of formal linked ontologies by re-engineering legacy ontologies to be conformant with BFO and developing new BFO-conformant ontologies to capture knowledge in the engineering design, enterprise, human factors, manufacturing, and application domain of additive manufacturing. The resulting Integrated Framework for Additively Manufactured Products (IFAMP), including the body knowledge instantiated on its basis, serve as the basis for a proposed Design with Additive Manufacturing Method (DWAM), which we believe can support the design of innovative products with semantically enhanced ideation tools and enhanced access to application domain knowledge. The method and its facilitation through the ontological framework are demonstrated using a case study in medicine. (shrink)

Advanced nanotechnology promises to be one of the fundamental transformational emerging technologies alongside others such as artificial intelligence, biotechnology, and other informational and cognitive technologies. Although scholarship on nanotechnology, particularly advanced nanotechnology such as molecular manufacturing has nearly ceased in the last decade, normal nanotechnology that is building the foundations for more advanced versions has permeated many industries and commercial products and has become a billion dollar industry. This paper acknowledges the socialtechnicity of advanced nanotechnology and proposes how its convergence (...) with other enabling technologies like AI can be anticipated and designed with human values in mind. Preliminary guidelines inspired by the Value Sensitive Design approach to technology design are proposed for molecular manufacturing in the age of artificial intelligence. (shrink)

There are two primary camps in which nanotechnology today can be categorized normal nanotechnology and speculative nanotechnology. The birth of nanotechnology proper was conceived through discourses of speculative nanotechnology. However, current nanotech-nology research has detracted from its speculative promises in favour of more attainable material products. Nonetheless, normal nanotechnology has leveraged the popular support and consequential funding it needs to conduct research and development (R&D) as a result of popular conceptions of speculative nanotechnology and its promises. Similarly, the scholarly literature (...) has shifted its focus away from speculative nanofutures towards normal nanotech-nology R&D. This paper shows that there is an incongruence between the representation of nanotechnology in the media, scholarly journals and industry. (shrink)

Although continued investments in nanotechnology are made, atomically precise manufacturing (APM) to date is still regarded as speculative technology. APM, also known as molecular manufacturing, is a token example of a converging technology, has great potential to impact and be affected by other emerging technologies, such as artificial intelligence, biotechnology, and ICT. The development of APM thus can have drastic global impacts depending on how it is designed and used. This paper argues that the ethical issues that arise from APM (...) - as both a standalone technology or as a converging one - affects the roles of stakeholders in such a way as to warrant an alternate means furthering responsible innovation in APM research. This paper introduces a value-based design methodology called Value Sensitive Design (VSD) that may serve as a suitable framework to adequately cater to the values of stakeholders. Ultimately, it is concluded that VSD is a strong candidate framework for addressing the moral concerns of stakeholders during the preliminary stages of technological development. (shrink)

This paper argues that the Value Sensitive Design (VSD) methodology provides a principled approach to embedding common values in to AI systems both early and throughout the design process. To do so, it draws on an important case study: the evidence and final report of the UK Select Committee on Artificial Intelligence. This empirical investigation shows that the different and often disparate stakeholder groups that are implicated in AI design and use share some common values that can be used to (...) further strengthen design coordination efforts. VSD is shown to be both able to distill these common values as well as provide a framework for stakeholder coordination. (shrink)

The chapter provides an overview on what it means to be in a world that is uncertain, e.g., how under conditions of limited understanding any activity is an activity that designs and constructs, and how designing objects, spaces, and situations relates to the (designed) meta-world of second-order cybernetics. Designers require a framework that is open, but one that supplies ethical guidance when ‘constructing’ something new. Relating second-order design thinking to insights in philosophy and aesthetics, the chapter argues that second-order cybernetics (...) provides a response to this ethical challenge and essentially it entails a poetics of designing. //// 'A Poetics of Designing' is part of the first book-length collection of texts in Design Cybernetics. It introduces the subject from the point of view of aesthetics. Importantly, the chapter argues that second-order cybernetics circumvents the necessity for a muse inspired artist or genius as a mediator between higher spirits and life, in favour of artists and designers who have true agency. //// Cybernetics is often associated with AI, which is, however, only one of the branches that developed on the basis of the interdisciplinary research begun in the 1940s and entitled cybernetics. I hope the chapter contributes to a better understanding of the second-order cybernetics that has been conceived in close relationship with art and design from the late 60s onwards. (shrink)

On the historical origins of technological fixes and their wider social and political implications.

The article is devoted to the publication of the pottery with a stamp design from the Kniazha Hora Old Rus fortress. During field seasons of 1958–1965, a representative collection of ceramic products was found on the settlement by a detachment of the Slavic-Rus archaeology of the Kaniv complex expedition under the direction of Halyna Mezentseva. Pots that are decorated with geometric figures-stamps are noteworthy because they are rare for the Kniazha Hora area. Studying ornamentation is very important because the décor (...) reflects some aspects of the spiritual culture of ancient population. However, these unique findings have not been given due attention by previous researchers. In the papers, the stamp type of ornament is associated with the West Slavonic tradition. It testifies one more peculiarity of the Old Rus society’s culture, in particular, of the Kniazha Hora fortress. (shrink)

El diseño gráfico basa su esencia en la creación de símbolos que definen identidades (mal que les pese y que no quieran hacerlo tanto los diseñadores como los destinatarios del diseño, porque es un proceso ideológico, es decir no voluntario ni consciente). Este podríamos definirlo como el primer intercambio simbólico que se da entre el diseño a través de los diseñadores y la sociedad.

A short position paper on how we can preemptively anticipate and design nanotechnology-safe futures.

This paper argues that although moral intuitions are insufficient for making judgments on new technological innovations, they maintain great utility for informing responsible innovation. To do this, this paper employs the Value Sensitive Design (VSD) methodology as an illustrative example of how stakeholder values can be better distilled to inform responsible innovation. Further, it is argued that moral intuitions are necessary for determining stakeholder values required for the design of responsible technologies. This argument is supported by the claim that the (...) moral intuitions of stakeholders allow designers to conceptualize stakeholder values and incorporate them into the early phases of design. It is concluded that design-for-values (DFV) frameworks like the VSD methodology can remain potent if developers adopt heuristic tools to diminish the influence of cognitive biases thus strengthening the reliability of moral intuitions. (shrink)

Safe-by-Design (SBD) frameworks for the development of emerging technologies have become an ever more popular means by which scholars argue that transformative emerging technologies can safely incorporate human values. One such popular SBD methodology is called Value Sensitive Design (VSD). A central tenet of this design methodology is to investigate stakeholder values and design those values into technologies during early stage research and development (R&D). To accomplish this, the VSD framework mandates that designers consult the philosophical and ethical literature to (...) best determine how to weigh moral trade-offs. However, the VSD framework also concedes the universalism of moral values, particularly the values of freedom, autonomy, equality trust and privacy justice. This paper argues that the VSD methodology, particularly applied to nano-bio-info-cogno (NBIC) technologies, has an insufficient grounding for the determination of moral values. As such, an exploration of the value-investigations of VSD are deconstructed to illustrate both its strengths and weaknesses. This paper also provides possible modalities for the strengthening of the VSD methodology, particularly through the application of moral imagination and how moral imagination exceed the boundaries of moral intuitions in the development of novel technologies. (shrink)

Os signos e as classes dos signos estão entre os tópicos mais importantes do sistema filosófico de Charles S. Peirce. As 10, 28, e 66 classes de signos são classificações desenvolvidas especialmente a partir de 1903 e representam um grande refinamento da divisão fundamental de signos – ícone, índice, símbolo. Nossa abordagem aqui define uma estratégia de visualização das classificações dos signos, com especial atenção para as 10 e 66 classes de signos. O livro está dividido em duas partes: (i) (...) bases teóricas, (ii) diagramas para as classes de signos. Na Parte I (bases teóricas), são apresentadas introdutoriamente as noções fundamentais das categorias fenomenológicas, classes de signos, as tricotomias e diagramas, assim como implicações gerais de nossa abordagem, metodologia e aplicações. Na Parte II (diagramas para as classes de signos), são apresentados e discutidos os modelos das classes, propostos por Peirce e seus comentadores, incluindo uma introdução detalhadamente documental de nossos modelos, 10cubes e 3N3, diagramas dinâmicos para as classes de signos. (shrink)

The design of academic conferences, in which settings ideas are shared and created, is, we suggest, of more than passing interest in constructivism, where epistemology is considered in terms of knowing rather than knowledge. The passivity and predominantly one-way structure of the typical paper presentation format of academic conferences has a number of serious limitations from a constructivist perspective, which are both practical and epistemological. While alternative formats abound, there is nevertheless increasing pressure reinforcing this format due to delegates’ funding (...) typically being linked to reading a paper. In this special issue, authors reflect on conferences that they have organized and participated in that have used alternative formats, such as conversational structures or other constructivist inspired approaches, in whole or in part. While issues raised are of relevance across disciplinary boundaries, contributions focus on two fields, that of cybernetics / systems, and that of design, in which the organisation of conferences is of particular concern: the environment of a design conference is something that we design; while a conference regarding systems or cybernetics is itself an instance of the sorts of process with which these disciplines are concerned. As well as contributing to conference design, discussions in this issue also reflect back on constructivism itself. Conference organization is an area in which constructivism may itself be understood in terms of practice rather than theory. This in turn helps connect ideas in constructivism with pragmatic fields, such as knowledge management, and recent discussions in this journal regarding second-order science. (shrink)

Los materiales que integran este libro provienen del II Encuentro de Egresados realizado en el verano de 2012 por la Maestría en Estética y Arte de la BUAP. Regresaban a su academia los que alguna vez fueron sus estudiantes. Venían con el propósito de reencontrarse con los avances investigativos de sus profesores y a traer ellos mismos los resultados de la continuidad de su trabajo de investigación. Algunos dejaron también en el encuentro una muestra de su arte. El ciclo de (...) conferencias impartido por profesores de la planta académica y por varios invitados encuentra su plasmación en la primera parte del libro intitulada “Desde la academia”. “De regreso a la academia”, la segunda parte, incluye trabajos que los egresados de la MEyA presentaron con sus avances investigativos posteriores a su egreso del programa. La tercera parte muestra el Catálogo de las obras que seis de los egresados-artistas presentaron en la exposición de artes plásticas “En las pupilas del que regresa”. (shrink)

Images, or icons, have been made the subject of a ‘turn’. But no new epoch under its sign is looming. The image is just one medium among others. The best we can do is to face what it may and what it may not achieve. Its main competitor is the word – though there is a field of transition between both. Words and numbers surpass the image when one needs to refer to something that cannot be seen – this holds (...) for ‘radioactivity’ just as much as for ‘responsibility’. To unambiguously show a categorial relation like causality or a logical feature like negation in an image borders on the impossible. (The aspiration to symbolize or manifest the invisible, though, has long inspired artistic images.) Pictures are accessible to the illiterate; while a language must be learned, an image seems to admit everyone. Yet that is in part an illusion. Obviously, it is not enough to see an image. To understand it, however, often a number of things must have been learnt in the first place, too. (shrink)

This paper explores a potential relation between architecture and ethics intrinsic to design processes when understood in terms of dialogue or conversation. We draw on separate but related research interests: one focused on the design process, especially the significance of drawing, and the other on the ethics of designing for the public realm, with reference to Bakhtinian dialogism. Our investigation concentrates on two aspects of the design process both of which can be thought of in terms of conversation – first, (...) the relation between architect and Other, and second, the act of drawing. Through this, we support the idea that in design the ethical and the aesthetic cannot be meaningfully separated from one another. Instead, their relation must be understood as a dialogue in and of itself, as well as part of the dialogue between all participants in the design process. (shrink)

Twenty-one units of school E-books subjecting in Arts and Culture in total has been released nationwide, which must be consented by Indonesia’s Body of National Standard of Education (Badan Standar Nasional Pendidikan) – the appointed organization to certify Indonesia’s educational features. The graphic instruments applied on cover designs, of which emphasis is merely on technical aspects, requires further examination. Such condition becomes the basis of this study in order to identify, describe and illustrate the implementation of cover designing school E-books (...) subjecting in Arts and Culture through: (1) proficient instructional media’s perspective, (2) visual communication design’s perspective, (3) visual semiotics’ perspective, and (4) end users’ perspective. Additionally, it also qualifies the cover designs. Pertaining qualitative research toward the entire 21 school E-books subjecting in Arts and Culture, the data gathering process involves three sets of instrument:comprehensive reading on visual marks and their relevance with the books’ concepts as cited by C.S. Peirce, corroborative approach toward specialists on both instructional media and visual communication designs, and collective line on end users’ responds. Conclusively, it is found out that: (1) instructional media consultants agree on the significance of all covers, while visual communication designers pronounce that twelve of them are worth it, (2) all covers meet the books’ concepts’ relevance semiotically, (3) students as end-users have positive responds toward all covers, and (4) 12 out of 21 sets of cover design qualify after fulfilling all criteria obliged by this study. Therefore, it recommends: (1) optimal application of visual marks in cover designing process by utilizing e-book features, (2) mature procedure in selecting cover designer(s) to better represent the concept of each book, and (3) intensification on selecting E-book cover designs. The Body of National Standard of Education needs to assess not only technical instruments applied, but also multimedia studies and visual communication designing theories. Further, it is expected to involve both the expertise of visual communication designers and view of the students as targeted end-users in future evaluation process. (shrink)

This essay argues for two conclusions about functional beauty, as this notion has been understood by Parsons and Carlson in a recent book by the same name. First of all, it is argued that functional beauty either is not a distinct kind of beauty or that the members of this kind are not all and only instances of the property of looking fit. Second, it is argued that functional beauty is relative only to categories corresponding to essential functions. The second (...) conclusion contradicts what Parsons and Carlson write about functional beauty, but the first conclusion does not, since they agree that looking fit is not necessary for functional beauty. However, their agreement on this point is based on reasons that can be shown to be mistaken. Moreover, contrary to what Parsons and Carlson claim, looking fit can also be shown to be insufficient for functional beauty. (shrink)

Even though aesthetics and affordances are two important factors based on which designers provide effective ways of interaction through their artifacts, there is no study or theoretical model that relates these two aspects of design. We suggest a theoretical explanation that relates the underlying functionality of aesthetics, in particular, of interaction aesthetics and of affordances in the design process. Our claim is that interaction aesthetics are one among other factors that allow users to enhance the detection of action possibilities and (...) consequently, the detection of affordances. Our aim is first to discuss the role of interaction aesthetics in the design process, and second to suggest an explanation for their role in the detection of affordances when users interact with artifacts. (shrink)

The revised and expanded edition of The Sympathy of Things with Bloomsbury Academic, which appeared in 2016. The pdf sample contains the new preface to the second edition and the foreword by Brian Massumi.

The first chapter of The Sympathy of Things published in Research & Design: Textile Tectonics (2011). It develops the notion of a “gothic ontology” which inverts Deleuze’s baroque ontology of the fold. Where in the universe of the fold continuity precedes singularity, in the gothic singularity precedes continuity. The reversal is based on the Ruskinian notion of the rib, which is the source of “changefulness”, expressed through “millions of variations” of figures. Figures move and change only to interact with or (...) connect to other figures, i.e. to build configurations. Ruskin’s notion of savageness, which is always categorized as an ethics-over-aesthetics, now becomes a notion of craft that is inherent to matter, not to humans. (shrink)

A shortened version of the second chapter of The Sympathy of Things as it was published in The Politics of the Impure (V2_NAI Publishers, 2010). It relates John Ruskin’s “Wall-Veil” to the better-known “Wall-Dress” (Gewand) of Gottfried Semper by understanding both as occurring at the intersection of matter and force. Matter tends to generate patterns in two ways, either downward or upward in dimensions. The first relates to tessellated ornament (cf. Owen Jones); the second to the ribboned ornamentation as we (...) find it in Morris’s work. (shrink)

Architecture of Consequence began life as the Dutch presentation at the Sao Paolo Architecture Biennale in 2009. "Shape our country!" was the call that the Netherlands Architecture Institute (NAi) made to its public over a six-month period. The result was a deluge of proposals, as the people of the Netherlands rose to the challenge of naming their needs: new guidelines for food production, alternative energy sources, solutions for space shortage, social cohesion, a healthy living environment and the recalibration of economic (...) value. Formulating responses to such fundamental questions of our time is, it seems, everyone's business. All of the above issues converge at spatial planning and design, where real opportunities for social innovation still await. For this project, the Netherlands Architecture Institute selected 22 Dutch architecture firms with genuinely innovative ideas on these seven imperatives and the will to do something about them. The result is an agenda for the future of our living environment and a proof that designers have the creative power to make it happen. Architecture of Consequence proves that any notion that architecture should be an "expression of its time," or should do no more than express the vanity of its commissioners, pales into insignificance when compared to its tremendous potential for resolving urgent societal problems. (shrink)

Explorations in Systems Phenomenology in Relation to Ontology, Hermeneutics and the Meta-dialectics of Design -/- SYNOPSIS A Phenomenological Analysis of Emergent Design is performed based on the foundations of General Schemas Theory. The concept of Sign Engineering is explored in terms of Hermeneutics, Dialectics, and Ontology in order to define Emergent Systems and Metasystems Engineering based on the concept of Meta-dialectics. -/- ABSTRACT Phenomenology, Ontology, Hermeneutics, and Dialectics will dominate our inquiry into the nature of the Emergent Design of the (...) System and its inverse dual, the Meta-system. This is an speculative dissertation that attempts to produce a philosophical, mathematical, and theoretical view of the nature of Systems Engineering Design. Emergent System Design, i.e., the design of yet unheard of and/or hitherto non-existent Systems and Metasystems is the focus. This study is a frontal assault on the hard problem of explaining how Engineering produces new things, rather than a repetition or reordering of concepts that already exist. In this work the philosophies of E. Husserl, A. Gurwitsch, M. Heidegger, J. Derrida, G. Deleuze, A. Badiou, G. Hegel, I. Kant and other Continental Philosophers are brought to bear on different aspects of how new technological systems come into existence through the midwifery of Systems Engineering. Sign Engineering is singled out as the most important aspect of Systems Engineering. We will build on the work of Pieter Wisse and extend his theory of Sign Engineering to define Meta-dialectics in the form of Quadralectics and then Pentalectics. Along the way the various ontological levels of Being are explored in conjunction with the discovery that the Quadralectic is related to the possibility of design primarily at the Third Meta-level of Being, called Hyper Being. Design Process is dependent upon the emergent possibilities that appear in Hyper Being. Hyper Being, termed by Heidegger as Being (Being crossed-out) and termed by Derrida as Differance, also appears as the widest space within the Design Field at the third meta-level of Being and therefore provides the most leverage that is needed to produce emergent effects. Hyper Being is where possibilities appear within our worldview. Possibility is necessary for emergent events to occur. Hyper Being possibilities are extended by Wild Being propensities to allow the embodiment of new things. We discuss how this philosophical background relates to meta-methods such as the Gurevich Abstract State Machine and the Wisse Metapattern methods, as well as real-time architectural design methods as described in the Integral Software Engineering Methodology. One aim of this research is to find the foundation for extending the ISEM methodology to become a general purpose Systems Design Methodology. Our purpose is also to bring these philosophical considerations into the practical realm by examining P. Bourdieu’s ideas on the relationship between theoretical and practical reason and M. de Certeau’s ideas on practice. The relationship between design and implementation is seen in terms of the Set/Mass conceptual opposition. General Schemas Theory is used as a way of critiquing the dependence of Set based mathematics as a basis for Design. The dissertation delineates a new foundation for Systems Engineering as Emergent Engineering based on General Schemas Theory, and provides an advanced theory of Design based on the understanding of the meta-levels of Being, particularly focusing upon the relationship between Hyper Being and Wild Being in the context of Pure and Process Being. (shrink)

Given the contemporary complexity of cities, landscape and society, urgent social tasks call for an integral, multidisciplinary approach. Rietveld Landscape’s strategic interventions focus and use the forces of existing developments and processes. This design method creates new opportunities for landscape, architecture, the public domain, ecology, recreation and economic activity.

A number of essays and interviews published between 1997 and 2008, revised for this publication with V2_.