Anxiety, Wonder and Astonishment: The Communion of Art and Design

Buchanan, Richard

doi:10.1162/desi.2007.23.4.39

Cited by 8 publications

(4 citation statements)

References 1 publication

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“…The existing situation would be a problematic situation to be solved. However, several authors (DORST, 2003;BUCHANAN, 2007) have shown how difficult it is to think of the design problem as something that "exists a priori" because it is in fact built during the process. A reductionist view of a design problem sees it as something well defined, as a demand.…”

Section: Design Culturementioning

confidence: 99%

Design Management & Strategic Design: Cross Perspectives

Scaletsky

Costa

2019

Strategic Design Research Journal

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The field of design has broadened its scope of activity in recent years, starting with a vision focused on the design of objects for a broader perspective. New terminology is being used and concepts are stamped, often without adequate consideration of its limits. This article seeks to define conceptually two current issues in the scope of Design and Management, but are often confused: Strategic Design and Design Management and propose new thinking about these two new areas within this field of knowledge.

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Section: Design Culturementioning

confidence: 99%

Design Management & Strategic Design: Cross Perspectives

Scaletsky

Costa

2019

Strategic Design Research Journal

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“…Writers indicate that further research into enduser engagement in graphic design is required, but the idea of end-users participating in the graphic design process has not gained traction (Drucker & McVarish, 2009;Frascara, 2004). Buchanan (2007) points to the difficulties in breaking the historical roots of graphic design in art and craft. A special issue in Design Studies in 2011 on graphic design did not discuss end-users in the design process, indicating a lack of research being undertaken in this field.…”

mentioning

confidence: 99%

The hybrid designer/end-user: Revealing paradoxes in co-design

Taffe

2015

Design Studies

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“…One of the requirements for wonder is that we are surprised (Buchanan 2007;Bulkeley 2008;Fuller 2006;Kearns 2015). What we see is totally unexpected.…”

Section: The State Of Wonder and Artmentioning

confidence: 94%

“…Wonder has another interesting characteristic: it is a fleeting experience (Buchanan 2007;Fisher 1998;Hepburn 1980). Buchanan notes that as one becomes familiar with the object, wonder fades.…”

Section: The Time Of Wondermentioning

confidence: 99%

The art of silence.

Kowalski¹

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This dissertation argues that the role of silence as essential to experience the full aesthetic beauty of art in a museum setting. Museums have changed their focus due to socio-economic and financial pressures. They have changed from silent "temples" for art conservation and exhibition to places for interactive art education, entertainment, and social gathering. The results of these changes have been both positive and negative. Attendance has increased, enhancing the museum experience, engaging more diverse audiences in museum activities, and dispelling the "elitist" image of the museum. These changes, however, have resulted in the loss of a silent space to quietly experience a personal and emotional connection to art. As the world becomes more urban, noisier, and addictively connected to technology, this study argues the need to include a silent experience in the art museum. This will enhance visitors' aesthetic, emotional, and educational experience with art.This dissertation is divided into seven chapters. Chapters one, two, and three explore the role silence plays in spiritual, aesthetic, and learning engagement. Chapter four examines the singular experience of wonder and its profound influence on the appreciation of art appreciation. Chapters five and six present silence and art from two vi perspectives: how artists reflect silence in their art works, and the silence viewers see in art. The final chapter seven presents a model for a room dedicated for viewing art in silence. This experience would provide an opportunity for visitors to connect personally, deeply, and emotionally with a work of art without influence from others.Each of the chapters cites research examining how silence develops the capacity to observe art with more detail, create a more personal and emotional connection with art, and to experience the beauty of art for its own sake before looking at it from an historical and analytical perspective.Further study is needed to assess the value of a silent experience in an art museum. This study provides evidence that silence can positively affect the visitors' involvement with art. Observing art in silence increases the visitors' ability to discover more detail in a work of art and connect personal experiences with it. In an increasingly noisy world, a silent space removes outside distractions and offers visitors an opportunity to have an emotional connection with the beauty of art.vii

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Anxiety, Wonder and Astonishment: The Communion of Art and Design

Cited by 8 publications

References 1 publication

Design Management & Strategic Design: Cross Perspectives

Design Management & Strategic Design: Cross Perspectives

The hybrid designer/end-user: Revealing paradoxes in co-design

The art of silence.

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