The End of Design Theory: a project

    Research output: Contribution to Newspaper/Magazine/BulletinArticle

    Abstract

    By the advent of the Bauhaus, the notion of design did engage in a two-track operation. Without dissociating itself from themes central to the formation of the architectural discipline, the concept of design, on the one hand, had to recode and at times delete thematic that had attained visibility in the context of labour and skills that were not sustainable under the rising regime of mechanical reproducibility. On the other hand, design became interactive in a web of communication and consumption systems that were informed by the exigencies of a culture that in less than fifty years would be coined the culture-industry. The nemesis of design in contemporary situation marked by the globalization of capital and information, I will argue, demands a radical departure from design recipes, past and present, that do not engage critically with the present production and consumption conditions of architecture. Discussing the collective implicitly involved in tectonics, this paper highlights the paradox in the contemporary theorization of design. This involves a different praxis, one that would surpass the prevailing rapport between academia (history/theory) and profession (practice).
    Original languageEnglish
    Pages189-194
    Number of pages9
    Volume1
    No.1
    Specialist publicationARDETH
    DOIs
    Publication statusPublished - 2017

    Fingerprint

    Design Theory
    Reproducibility
    Globalization
    Recipes
    Rapport
    Bauhaus
    Labor
    Tectonics
    Thematic
    World Wide Web
    Communication
    History
    Departure
    Praxis
    Culture Industry
    Paradox
    Visibility
    Interactive Design

    Cite this

    HARTOONIAN, Gevork. / The End of Design Theory: a project. In: ARDETH. 2017 ; Vol. 1, No. 1. pp. 189-194.
    @misc{4846c8a3d1e148758fa7070869d687a3,
    title = "The End of Design Theory: a project",
    abstract = "By the advent of the Bauhaus, the notion of design did engage in a two-track operation. Without dissociating itself from themes central to the formation of the architectural discipline, the concept of design, on the one hand, had to recode and at times delete thematic that had attained visibility in the context of labour and skills that were not sustainable under the rising regime of mechanical reproducibility. On the other hand, design became interactive in a web of communication and consumption systems that were informed by the exigencies of a culture that in less than fifty years would be coined the culture-industry. The nemesis of design in contemporary situation marked by the globalization of capital and information, I will argue, demands a radical departure from design recipes, past and present, that do not engage critically with the present production and consumption conditions of architecture. Discussing the collective implicitly involved in tectonics, this paper highlights the paradox in the contemporary theorization of design. This involves a different praxis, one that would surpass the prevailing rapport between academia (history/theory) and profession (practice).",
    keywords = "Design Theory",
    author = "Gevork HARTOONIAN",
    year = "2017",
    doi = "10.17454/ARDETH01.15",
    language = "English",
    volume = "1",
    pages = "189--194",
    journal = "ARDETH",

    }

    The End of Design Theory: a project. / HARTOONIAN, Gevork.

    In: ARDETH, Vol. 1, No. 1, 2017, p. 189-194.

    Research output: Contribution to Newspaper/Magazine/BulletinArticle

    TY - GEN

    T1 - The End of Design Theory: a project

    AU - HARTOONIAN, Gevork

    PY - 2017

    Y1 - 2017

    N2 - By the advent of the Bauhaus, the notion of design did engage in a two-track operation. Without dissociating itself from themes central to the formation of the architectural discipline, the concept of design, on the one hand, had to recode and at times delete thematic that had attained visibility in the context of labour and skills that were not sustainable under the rising regime of mechanical reproducibility. On the other hand, design became interactive in a web of communication and consumption systems that were informed by the exigencies of a culture that in less than fifty years would be coined the culture-industry. The nemesis of design in contemporary situation marked by the globalization of capital and information, I will argue, demands a radical departure from design recipes, past and present, that do not engage critically with the present production and consumption conditions of architecture. Discussing the collective implicitly involved in tectonics, this paper highlights the paradox in the contemporary theorization of design. This involves a different praxis, one that would surpass the prevailing rapport between academia (history/theory) and profession (practice).

    AB - By the advent of the Bauhaus, the notion of design did engage in a two-track operation. Without dissociating itself from themes central to the formation of the architectural discipline, the concept of design, on the one hand, had to recode and at times delete thematic that had attained visibility in the context of labour and skills that were not sustainable under the rising regime of mechanical reproducibility. On the other hand, design became interactive in a web of communication and consumption systems that were informed by the exigencies of a culture that in less than fifty years would be coined the culture-industry. The nemesis of design in contemporary situation marked by the globalization of capital and information, I will argue, demands a radical departure from design recipes, past and present, that do not engage critically with the present production and consumption conditions of architecture. Discussing the collective implicitly involved in tectonics, this paper highlights the paradox in the contemporary theorization of design. This involves a different praxis, one that would surpass the prevailing rapport between academia (history/theory) and profession (practice).

    KW - Design Theory

    U2 - 10.17454/ARDETH01.15

    DO - 10.17454/ARDETH01.15

    M3 - Article

    VL - 1

    SP - 189

    EP - 194

    JO - ARDETH

    JF - ARDETH

    ER -