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DRS2012 Bangkok Proceedings Vol 4 - Design Research Society

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Figure 1 Walter Gropius: Terraced Houses in Dessau-Törten, 1928.<br />

Figure 2 Facade of the Terraced Houses in Dessau-Törten, around 2000.<br />

Figure 3 Interior of a House in Dessau-Törten, around 2000.<br />

Source: Fig 1 Bauhaus-Archiv, Museum für Gestaltung, Berlin; Fig. 2, 3 Nils Emde.<br />

Dagmar STEFFEN<br />

At least, since the modernist ideas in design, the term “experiment” has become<br />

widespread in the design community, as a literature review in the German design<br />

magazine “form, Zeitschrift für Gestaltung” indicates. A query in the ‘form’ online-archive<br />

(www.form.de) shows 350 hits for the term ‘experiment’ and its inflections during the<br />

period 1957-2007. A deeper analysis of the articles and reports sheds light on the usage<br />

of the term by the authors and the implicit meaning it receives from that: products, that<br />

stand out from accustomed shapes, established product categories, and familiar use, and<br />

products that challenged the borders of technical feasibility or cultural acceptability – such<br />

products were called ‘experimental designs’. Figure 4–6 show three examples of what is<br />

meant by ‘experimental design’ by design journalists, designers and companies. Their<br />

focus is on innovative, outstanding products that attract a great deal of attention from<br />

media and market.<br />

Figure 4 Verner Panton’s design Atmosphére for the publisher Spiegel Verlagshaus (1968).<br />

Figure 5 Luigi Colani’s Total Living Unit (1969).<br />

Figure 6 Fernando and Humberto Campana, Armchair with cuddy toys (2004)<br />

Source: Fig 4 http://designmuseum.org; Fig. 5, 6 www.form.de<br />

Reflection or contextualisation within a theoretical framework, not to mention generation<br />

of theory, is usually beyond the interest of the authors in the ‘form’ magazine. Thus,<br />

referring to the scholarly concept of experiment described above, there is no doubt, that<br />

most designers pursue “a rudimentary form of experimental action” (Schmidgen, Geimer<br />

& Diering) i.e.; trial and error. During the design process, they may often be in the<br />

situation where they ask themselves ‘How can I master this or that?’, and advance<br />

several alternative hypotheses. As hypothesis-testing practitioners, they apply the same<br />

logic as the hypothesis-testing scientist, described by Schön. Nonetheless the difference<br />

between both activities is fundamental. This becomes obvious in a text from Willy Rotzler<br />

Conference <strong>Proceedings</strong> 1753

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