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ISSN 2309-0103 www.archidoct.net
Vol. 7 (2) / February 2020
Embeddedness – An IS is bound to and specific to its environment
Keinonen(Keinonen, 2009)suggested the term immediate design for“a mode of de- sign characterized by responsiveness to users’ current needs, intensive layperson par- ticipation, continuous incremental improvements, and the implementation of do-it- yourself developmental platforms. It takes place where the activity and challenge are on the site, and aims at solving the problem directly without withdrawing to product development fortresses.”
Keinonen opposes immediate design to remote design, which is meant to produce general solutions and foundations for others to develop products or local practices. The development project for a general-purpose product ends when the product is launched, but immediate design aims atimproving specific human-technology sys- tems and is open ended.Immediate design fosters temporal and spatial immediacy, and direct interaction between designers and users. It also changes causes for design action, as it is driven by the explicit and implicit needs of users, instead of being driv- en by trends, economic rationale or technology. Immediate design optimizes the hu- man-technology match in a fluid process of continuous improvements.
In immediate design, design collaboration is not something that takes place only be- tween designers and engineers, it takes place between designers and users. Design and use take place simultaneously, the designer acting side by side with users, sepa- rated by neither hierarchy no value. This embeddedness of design activities, directly in the practices of use,occurs as normal work and improvement of the environment coincide, generating specific and context dependent solutions.
Re-framing – An IS affords to continuously re-formulate the user’s objective
Artist Martino developedfor her doctoral thesis research a digital drawing instrument which provides creative immediacy by maintainingthe artists’ mark(Martino, 2006). Her thesis focuses on digital instruments based on the shape grammar approach(G. Stiny, 1972)(Stiny, 1980) because the immediacy of the artist’s mark in visual creation has historically been lost in computation. Neither did digital design tools do not an- swer the fluid demands of the artistic process, nor did prior research address the im- mediacy of drawing and painting as a device in computational art.
According to Martino, the practice of visual creation is a shifting process, in which the artist has the role of a creator who dynamically re-creates problem space. The can- vas into which a sketch is drawn changes with every stroke of the pen. This leads to new visual realizations and re-formulates the artistic task at hand at that specific mo- ment in the process of creation, which“occurs in the tight loop between the hand and the eye where every mark influences every other mark in a re-framing of the picture plane.”(Martino, 2006)The immediate, dynamic input allows the designer to operate outside of the constraints of a static model or boundary system.
A system which allows for such practice should accommodate process at both the conceptual and implementation level. Such a system should combine flexibility with repeatability and furthermore be adaptive, with an elastic schema that allows a visual
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Immediate Systems. Human-In-The-Loop Cyber-Physical Systemsthat Embed Design and Implementation in Situations of Use
Christian Friedrich