Albert Borgmann : The depth of design

1. Albert Borgmann:The depth of design Designteori 8.1 Design: teori, metode & praksis, ITDD F2013

2. Design as the excellence of material objects There is one heading, however, under which we discuss and judge the quality of our material culture, viz., design. Accordingly I propose we think of design as the excellence of material objects. Design in this objective sense is everyone’s concern. (Albert Borgmann, s. 13) To stress the coordination between design in its objective sense as the excellence of the material culture and design in its practical sense as a profession is eminently urgent and desirable. Design, taken as an objective quality, needs design as a professional practice because the quality of the material culture urgently needs the care and advocacy of professionals. (Albert Borgmann, s. 14)

3. Design as the excellence of material objects Når vi designer ogtalerom IT-Didaktisk design beskæftiger vi osaltså med materielleobjekteri en materiel kultur. Detvilsige at vimåværereflekteredeomkring et designs materialitet, håndgribelighedogekspressivitet. Et design børaltsåindeholdelige dele ‘fornuft & følelse’ Oghvisdet at læregennem design skalværeengagerendemådesignetaltsåtagehøjde for disseforhold. Vi kanaltsåikke ‘arrangere,’ ‘diktere’ eller ‘skabe’ læringgennemdesignet (engineering design) og vi kanikke lave et læringsdesign der ‘frikøber’ lærerenoglærer eleven automatiskoguniverselt Hvad vi istedetmågøreer at invitere eleven gennem en æstetisk-materiel appeltil ‘fornuft & følelse’, ‘sansning & håndgribelighed,’ ‘ekspressivitet & indtryk’ (aesthetic design) • As engagement has declined, so has aesthetic design (Albert Borgmann, s. 15) • As aesthetic design has declined, so has engagement • Hvordanforholderjeres design sig konkrettilogtagerhåndomdisseaspekter?

4. Design as surface design? Aesthetic design inevitably is confined to smoothing the interfaces and stylizing the surfaces of technological devices. Aesthetic design becomes shallow, not because it is aesthetic, but because it has become superficial. It has been divorced from the powerful shaping of the material culture. Engineering has taken over the latter task. But it in turn conceals the power of its shapes under discreet and pleasant surfaces (Albert Borgmann, s. 15)

5. Design as surface design? Indeholderjeres design æstetiskdybdeellererdet blot en smukoverfalde? = erdetdigitale bare den sødeoverflade (ellerforlystelsespark) der skalfåbrugerentil at sluge den bitrelæring (ellergåiskole)? Hvisikke – hvordankan man så se detidesignet? Erjeres design bare en ‘automatisering’? En ‘aflastning’ der skalfåbrugerentil at blive ‘forbruger’ mere end ‘fokuseretdeltager’? Hvisikke – hvordankan man så se detidesignet? Hvilkeæstetiskekrav stiller jeres design mht. brugerens engagement? Hvordanerdetdigitale mere ogandet end overflade? Hvordanerdetdigitale ‘digitalt’? Dvs. Ikke bare ‘mere afdetsamme bare digitalt’?

6. The depth of design If we are concerned to revive engagement, we must try to recover the depth of design, that is, the kind of design that once more fuses engineering and aesthetics and provides a material setting that provokes and rewards engagement. (Albert Borgmann, s. 16) More important, comprehension shades over into engagement, and it is depth of engagement that truly allows and calls for depth of design. (Albert Borgmann, s, 17)

7. The depth of design Hvisformålet med designeter at engagerebrugernetil at lære, opleveellerinterageresåmådesignetaltsåsammensmelteæstetiskekspressivitet, sansningogfordybelse med udformningenaf en designet invitation tillæring, oplevelseellerinteraktion. Hvordanprovokerer & invitererjeres design brugerentil at engagere sig? Oghvordanerdenneprovokation & invitation meningsfuld for brugereni den konteksthvoribrugerenbefinder sig? Hvordanbelønnerjeres design brugerensanstrengelserog engagement? Skaberjeres design et rum for et dybtvedvarende engagement hos brugeren? Hvordan? Eller gørjeres design nogetheltandet?

8. Design as conducive to engagement People who do house work extend themselves tangibly and subtly into the texture of their ownmost environment. They do so in furnishing, cleaning, repairing, adorning, and ordering their home. They lead a more extended and competent life than persons who are merely inserted into a prefabricated container. (Albert Borgmann, s. 18) More particularly, I want to urge, designers are charged with making the material culture conducive to engagement. (Albert Borgmann, s. 18)

9. Design as conducive to engagement Hvordanbidragerjeres design tilbrugerens engagement ikonteksten? Giver designetbrugerenmulighed for at rækkeind I ogpåvirkekonteksten? Eller omslutterdetbrugerenogafskærer ham/hendefra at have meningsfuldindflydelsepåkontekstenogkontekstenfra at have meningsfuldindflydelsepåbrugeren? Har I somdesignereformået at skabe et design der bidragertilbrugerens engagement ikonteksten?

10. Designing engaging activities Things that invite engagement are distinguished not only by the wealth of their experiential properties but also by the disclosing power of those properties. A car does not really allow for engagement although it has a fair number of different kinds of experiential qualities. But normally the tendency is to make a car as insensitive as possible to the wider world, to outside noise and temperature and to the surface, grade, and curves of the road. The kitchen utensils of the gourmet cook, to the contrary, disclose the texture, color, and taste of the food. The depth of the utensils opens on the depth of the world at large. They do not represent the world, as technological devices do; they allow the world to be present in its own right. Things, however, can have and hold this deeply disclosive power if they are so designed. (Albert Borgmann, s. 19-20)

11. Designing engaging activities Skaberjeres design en udfoldetogåben invitation til engagement sombrugerenkan (be)gribeoggøretil en engagerendeaktivitet? Hvordanhar I tagetjeresprofessionelledidaktiskeansvaralvorligt? Oghvordanhar I tagetjeresprofessionelle designer ansvaralvorligt? Hvordankan man se detidesignet? Erjeres design ‘en bil’ eller ‘et køkkenredskab’? Hvilkenmetaforbeskriver den invitation til engagement jeres design udgør? Hvordanhar I udfoldetogimplementeretdenne invitation ijeres design? Oghvordankommerinvitationentiludtryksom design? Design is deep and consequential. It is not confined to the cosmetics of a skyscraper’s skin (Albert Borgmann, s. 20)