Krieger revisits the ideas of his now infamous article of some
thirty years ago in "Science" magazine. His aim is to give an
account of design, one that experienced designers will say, 'Yes,
That's just what it is like ' At the same time, Krieger offers an
analysis of the tensions that design operates within; between
perfection and contingency, between wholes and parts, between the
talk we make about the world and the world itself.
Krieger takes design--in architecture, landscape, interiors,
engineering, and in systems and computer science--to be modeled by
traditional theological and artistic problems. And here, he claims,
design has traditionally been a redesign of nature. For nature is,
as Durkheim would describe it, a totem. Our collective ritual
devotion to it allows us to enliven or animate it, and so it may
animate us as well. Curiously, much of design and discourse about
it now takes place in the computer software engineering world,
especially among those concerned with patterns and object- oriented
programming. In developing a notion of plastic trees, Krieger
probes just what could be wrong with such artifices. As he
illustrates, what we call nature is almost always a product of
deliberate design. It is as if people make discoveries in
exploration, discoveries of places already occupied aboriginally.
In essence, he asserts what we actually have is a virtual
authenticity, more real than any original could possibly be--since
the original was never meant to be sacralized or featured in our
lives. A provocative analysis that scholars and students of
architecture and planning, environmental studies, engineering and
computer science will find stimulating.
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