Wayang Topeng or Wayang Gedog

This wayang wong, human theater, with the topics of Jenggala Kingdom, where the players are wearing masks (Gedog comes from the word kedok = topeng, which is meant mask).

A true love story between Princess Candra Kirana of Kediri and Raden Panji Asmarabangun, the crown prince of Jenggala. Candra Kirana was incarnation of Dewi Ratih (goddess of love) while Panji was incarnation of Kamajaya (god of love). The story of Raden Panji and Candra Kirana was written in a poem called 'Smaradahana' the fire of love. At the happy ending, they got married and a son by the name Raja Putra was born. Panji Asmarabangun throned as a king of Jenggala with the names Sri Kameswara or Prabu Suryowiseso or Hino Kertapati.

Wayang topeng is still popular up to the present date. It is performed in a shorter period, in a special gathering, wedding parties, etc, entertaining the guests for about 20 to 30 minutes.
sumber : http://www.joglosemar.co.id/wayangtopeng.html

The Dalang

The puppets are stored in line, in a banana tree trunk, behind the screen and in front of the puppeter. The puppeter is called the dalang.

The dalang manipulates the puppets, sings and taps out signals to the orchestra. He also speaks the parts for all characters; he must be able to render the shy sweetness in the voice of a princess, the spiteful whine of a lackey and the righteous but controlled anger of a noble hero.

Not everyone can be a dalang. A Dalang is a most extraordinary man. First of all, he is a public entertainer. To amuse a great number of people is not an easy matter. He must be physically strong and healthy, otherwise he would not be able to stand the strain. Just imagine, he is seated cross-legged for nine successive hours. He cannot even have a wink of sleep. He cannot get up from his seat until six o'clock the next morning. He also has to strike the kechrek (rattle) with his right foot almost incessantly. He handles the puppets with both hands, imitates their different voices, tell jokes at the right times, and even sings every now and then. In addition, he controls the musicians without anyone among the audience ever noticing it.

sumber : http://discover-indo.tierranet.com/wayang1a.htm

gerah

panas benembus badan
air bekucuran dari badan
rasa haus mulai merayu
selembar kertaspun bergoyang membuat angin, menghilangkan kegerahan

About Wayang Kulit

Wayang kulit or shadow puppet theatre is a traditional art form from Indonesia and Malaysia. A solo puppeteer, known as a dhalang in Javanese, manipulates and provides voices for puppets cut from animal hide and painted on both sides. The shadows of these puppets fall on a white cotton screen. In Java, wayang performances are watched from both sides of the screen, as either a shadow show or a puppet show.
Performances in Java are accompanied by a full gamelan, which might have 15, 25 or more musicians. A typical performance begins at 7.30 or 8pm with a musical overture and runs until 3 am or later.  Most plays are based on the Ramayana and Mahabharata epics, which were imported from India to Java perhaps 1500 years ago. Dialogue is not written down, but largely extemporized based on oral formulae. Plays blend action, comedy, philosophy, romance and displays of statesmanship. Wayang kulit is so comprehensive in scope that it is described by many commentators as an encyclopaedia of Javanese culture.
Some performances have ritual significance. In these ritual dramas, the dhalang recites magical incantations and presents offerings to invisible spirts. One such performance, designed to drive away malevolent spirits, is translated in Matthew Cohen’s book Demon abduction: A wayang ritual drama from West Java (Lontar, 1999).
Wayang kulit is a living art form, and there are also many contemporary productions and cross-art collaborations.
Wayang was inscribed by UNESCO in 2008 on the Representative List of the Intangible Cultural Heritage of Humanity. The art form has attracted much attention since the nineteenth century from artists in Europe, the United States and around the world. (See Matthew Cohen’s article Contemporary Wayang in Global Contexts.) In 1999, the first major gathering of international wayang practitioners (dubbed dalang mancanegara) occurred as part of the Pekan Wayang national festival at Taman Mini in Jakarta. Matthew Cohen was among those who performed at this festival, and he also spoke at the festival’s international seminar.

sumber : http://kandabuwana.wordpress.com/about-wayang-kulit/

Museum Wayang Kekayon

Museum Wayang Kekayon adalah museum mengenai wayang yang ada di kota Yogyakarta, tepatnya di Jl. Raya Yogya-Wonosari Km. 7, kurang lebih 1 km dari Ring Road Timur. Museum yang didirikan pada tahun 1990 ini memiliki koleksi berbagai wayang dan topeng serta menampilkan sejarah wayang yang diperkenalkan mulai dari abad ke-6 sampai abad ke-20. Wayang-wayang di dalam museum ini terbuat baik dari kulit, kayu, kain, maupun kertas.
Sama halnya dengan museum Wayang di Jakarta, museum ini mempunyai beberapa jenis wayang, seperti: wayang Purwa, wayang Madya (menceritakan era pasca perang Baratayuda), wayang Thengul, wayang Klithik (mengisahkan Damarwulan dan Minakjinggo), wayang beber, wayang Gedhog (cerita Dewi Candrakirana), wayang Suluh (mengenai sejarah perjuangan kemerdekaan Indonesia), dan lain lain. Berkaitan dengan wayang Purwa, museum ini memiliki beberapa poster yang menggambarkan strategi perang yang dipakai dalam perang Baratayuda antara keluarga Pandawa dan Kurawa, yaitu: strategi Sapit Urang dan strategi Gajah.


sumber : http://id.wikipedia.org/wiki/Museum_Wayang_Kekayon

Wayang Sadat

This newly developed form is used by teachers of Islam to show the principles of Muslim ethics and religion to the natives of Java and Bali.  The term "sadat" derived from shahada (Arabic: الشهادة aš-šahādah).

sumber  : http://en.wikipedia.org/wiki/Wayang

Etymology of the word

Stupidity is a quality or state of being stupid, or an act or idea that exhibits properties of being stupid.[4] The root word stupid,[5] which can serve as an adjective or noun, comes from the Latin verb stupere, for being numb or astonished, and is related to stupor:[6] in Roman culture, 'the stupidus of the mimes' was a sort of 'professional buffoon - the "fall-man", the eternal he-who-gets-kicked'.[7]

According to the online Merriam-Webster dictionary, the words "stupid" and "stupidity" entered the English language in 1541. Since then, stupidity has taken place along with "fool," "idiot," "dumb," "moron," and related concepts as a pejorative appellation for human misdeeds, whether purposeful or accidental, due to absence of mental capacity.

The word "stupidest" is increasingly common in newspapers.[8][9][10]

form•Z on the small and big screen

In addition to its widespread use in the architecture and 3D design worlds, form•Z and RenderZone Plus are also extensively used in Hollywood - in all production stages, in and behind the scenes (set design pre-production and construction, miniature model design, pre-vis animation, CG special effects and post-production, etc.). The following thread [2] mentions the practical use of form•Z in almost all blockbuster movies of the last decade, including successful TV productions.

Additional movie references:

Pirates of the Caribbean [3]

Victor Martinez (Solaris, Minority Report, Cat in the Hat, Transformers, etc.) [4]

Richard Reynolds (Lecturer @ AFI, Planet of the Apes, Mission to Mars, Pearl Harbor, etc.) [5]

Oliver Scholl (Time Machine, Independence Day, Mission to Mars, Stealth, Jumper, etc.) [6]

Rendering

RenderZone Plus provides photorealistic rendering with global illumination based on final gather (raytrace), ambient occlusion, and radiosity, for advanced simulation of lighting effects and rendering techniques, which result in renderings with the most realism, as the illumination of a scene takes into account the accurate distribution of light in the environment. Consequently excellent results are achieved in a short time, with little effort to set up and easy to control.

Key rendering features include multiple light types (distant (sun), cone, point, projector, area, custom, line, environment, and atmospheric) whereas the environment and atmospheric lights, which may be considered advanced light types, are especially optimized for global illumination. Both procedural and pre-captured textures are offered and can be mapped onto the surfaces of objects using six different mapping methods: flat, cubic, cylindrical, spherical, parametric, or UV coordinates. Decals can be attached on top of other surface styles to produce a variety of rendering effects, such as labels on objects, graffiti on walls, partially reflective surfaces, masked transparencies, and more. State of the art shaders are used to render surfaces and other effects. A surface style is defined by up to four layers of shaders, which produce color, reflections, transparency, and bump effects. They can be applied independently or can be correlated. Libraries with many predefined materials are included and can be easily extended and customized.

Also available is a sketch rendering mode that produces non photorealistic images, which appear as if they were drawn by manual rendering techniques, such as oil painting, water color, or pencil hatches.

Animation

form·Z offers a seamlessly integrated animation environment, where objects, lights, cameras, and surface styles (colors) can be animated and transformed over time. The animation features are object-centric and are applied as modeling operations, which, in addition to supporting the production of animated visualizations, they also support dynamic modeling and the creation of forms that go significantly beyond the repertoire of conventional modeling tools. This offers a powerful avenue for design explorations.

Modeling

In general, form·Z allows design in 3D or in 2D, using numeric or interactive graphic input through either line or smooth shaded drawings (OpenGL)among drafting, modeling, rendering, and animation platforms.

Key modeling features include Boolean solids to generate complex composite objects; the ability to create curved surfaces from a variety of splines, including NURBS and Bezier/Coons patches and mechanical or organic forms using metaformz, nurbz, patches, subdivisions, displacements, or skinning; specialty tools such as Terrain models, Platonic solids, geodesic spheres, double line wall objects, stair cases, helixes, screws, and bolts. In addition form·Z modeling supports methods for transforming and morphing 3D shapes and allows the production of both animated visualizations of scenes and the capture of 3D shapes as they morph into other forms, introducing modeling methods that explore 3D forms beyond traditional means.

Technical output oriented modeling allows users to refine the design with double precision CAD accuracy to full structural detail for 3D visualization for the production of 2D construction drawings, 3D printing, rapid prototyping, and CNC milling and offers information management of bills of materials and spreadsheet support for construction documents.

Overview

form·Z is an award-winning general-purpose [1] solid and surface modeler with an extensive set of 2D/3D form manipulating and sculpting capabilities, many of which are unique. It is an effective design tool for architects, landscape architects, urban designers, engineers, animators, illustrators and movie makers, industrial and interior designers and all other design areas. It facilitates the development and execution of projects from conception to complete detailed structures, animated and automatically fabricated. form·Z can be used on Windows as well as on Macintosh computers and in addition to English it is also available in German, Italian, Spanish, French, Greek, Korean and Japanese.

Modeler

Modeler saves its files in Electric Image's "FACT" file format for importing into Animator (see above). It supports ACIS modeling, "ÜberNurbs" (EIAS' subdivision surfaces modeling technology), LAWS (based on parametric formulas) as well as Boolean operations and other modern modeling tools.

Modeler last shipped in Electric Image Universe 5.0. As a result, users of EIAS 5.5 and newer use a third-party modeler instead. As of this writing, Electric Image recommends Nevercenter Silo for this purpose.Form•Z from auto•des•sys is also popularly used as a companion for EIAS.

Transporter

Transporter is a standalone program for converting 3D models from one file format to another. Primarily, it exists for importing models in formats that the other EIAS tools cannot import directly, and for exporting models to other formats. For instance, in EIAS version 8.0, Animator supports five of the most popular model input formats, while Transporter supports 29 formats. Transporter can export a model in one of 14 different formats, most usefully the Electric Image FACT format preferred by the other EIAS components.

History

Electric Image, Inc. was initially a visual effects production company. They developed their own in-house 3D animation and rendering package for the Macintoshbeginning in the late 1980s, calling it ElectricImage Animation System. (To avoid confusion with the current product with its similar name, we will refer to this initial incarnation of the product simply as ElectricImage.)

When the company later decided to offer their software for sale to others, it quickly gained a customer base that lauded the developers for the software's exceptionally fast rendering engine and high image quality. Because it was capable of film-quality output on commodity hardware, ElectricImage was popular in the movie and television industries throughout the decade. It was used by the "Rebel Unit" at Industrial Light and Magic quite extensively and was in use by a variety of game companies.Bad Mojo, Bad Day on the Midway However, only these high end effects companies could afford it: Electric Image initially sold for US $7500.

EIAS has been used in numerous film and television productions such as Piranha 3D, Alien Trespass, Pirates of the Caribbean: The Curse of the Black Pearl, Daddy Day Care, K-19: The Widowmaker, Gangs of New York, Austin Powers: Goldmember, Men In Black II, The Bourne Identity, Behind Enemy Lines, Time Machine, Ticker, JAG - Pilot Episode, Spawn, Star Trek: First Contact, Star Trek: Insurrection, Galaxy Quest, Mission to Mars, Austin Powers: The Spy Who Shagged Me, Star Wars Episode 1: The Phantom Menace, Titan A.E., U-571, Dinosaur, Terminator 2: Judgement Day - DVD Intro, Jungle Book 2, American President, Sleepers, Star Wars Special Edition, Empire Strikes Back Special Edition, Return of Jedi Special Edition, Bicentennial Man, Vertical Limit, Elf, Blade Trinity, and Lost In Space. TV Shows: The whole Truth, Lost, Flash Forward, Fringe, Surface, Weeds, Pushing Daisies, The X-Files, Alias, Smallville, Star Trek:Next Generation, Babylon 5, Young Indiana Jones, Star Trek Voayager, Mists of Avalon, Star Trek Enterprise...'.

Electric Image, Inc. was always a small company that produced software on the Mac platform and so never had a large a market share. Play, Inc. purchased Electric Image corporation in November 1998. The first version of EIAS released under the Play moniker was version 2.9. Play later released the 3.0 version. This was the first version to run on Windows, and to mark this move, Play renamed the package Electric Image Universe. Play was never a greatly successful company, and so Electric Image Universe stagnated during the time they owned it.

In 2000, Dwight Parscale (former CEO of Newtek) and original Electric Image founders Markus Houy and Jay Roth bought back the original company from Play Inc. On September 19, 2000, the company bought back the shares of Electric Image from Play and set about to recapture the product's former customer base. The new company released version 4.0 and 5.0 under the Electric Image moniker. Then due to a licensing problem with Spatial Technologies, they dropped the Modeler program from the version 5.5 release, and renamed the package back to Electric Image Animation System.

Versions 6.0 and 6.5 were subsequently released with vast improvements to the rendering engine and OpenGL performance. Version 6.5r2 added FBX file importing capability. 6.6 added Universal Binary support and finally drops support for Mac OS 9. Version 7.0 brought Multi-Layer Rendering, Image-Based Lighting, Raytrace Sky Maps and Rigid Body Dynamics. The current version, 8.0, added Photon Mapping, Fast soft shadows, area light, Quadratic light drop-off, EXR and 16bit image input support, Displacement Sea Level, new Weight maps tools, lots of workflow enhancement and Renderama improvements.

EI Technology Group Announces Sale of EIAS Intellectual Property

San Antonio, TX – January 12, 2010 – San Antonio based EI Technology Group (EITG) has sold the intellectual property rights of Electric Image Animation System (EIAS) to new owners Tomas Egger and the Igors . The sale includes the software applications: Animator, Camera, Renderama and all related modules. This transfer will allow accelerated development and new technologies of the software to evolve, without limiting them to EITG’s budget as it continues development of Modeler. Brad Parscale, President of EITG stated, “ This move is best for the future of EIAS. It puts the products in the hands of the artists and developers who use it most. EIAS will swiftly progress with new features as a result of this transaction.”

Product family

Cobalt, at $2,995, is the high-end member of a four-member family of products. The other three Ashlar-Vellum offerings are “Graphite”, “Argon”, and “Xenon”.

• Graphite essentially inherited the feature-set of Ashlar’s flagship product, Vellum. It offers 2D and 3D wireframe drafting and equation-driven parametrics.

• Argon is the most affordable, offering 3D solid modeling (but not history-based), ray tracing, and animation.

• Xenon is a less capable cousin of Cobalt, offering all of the 2D and 3D solid modeling functions of Cobalt as well as ray-trace rendering and animation. However, Xenon lacks Cobalt’s geometric and equation-driven parametrics, “Associative Assembly Tools” and the mechanical parts library, nor does it support dimensioning using geometric dimensioning and tolerancing (GD&T).^[7]

Surfacing

Cobalt includes freeform Class-A NURBS surface modeling for creating complex, aesthetic, or technical shapes. The self-running animation (lower right) demonstrates two capabilities of Cobalt: 1) how a limited number of control points govern complex NURBS surface geometry, and 2) demonstrates a fly-by animation produced by Cobalt whereby the “camera eye path” was attached to a 360-degree circle.

Animation tools

Cobalt features several modes for making animation, notably “Static” (where the sun and shadows move in a stationary scene), “Walk-through,” and “Fly-by”. Cobalt is also capable of six different levels of photorealistic rendering, from “Raytrace Preview Render [Shadows Off]” through “Auto Full Render [Shadows On, Antialias]”. Choosing less realistic modes for trial animations allows very quick rendering—even those with several hundred frames—because Cobalt fully exploits multi-core microprocessors during rendering.

The click-to-play animation (upper right) shows two industrial pushbutton switches surrounded by a virtual “photo studio” in a Cobalt model. The mirrored hemisphere enables the reader to see the back wall, floor, and ceiling lights, which all contribute to the nature of the light reflecting off the switches. Face-on images of these switches were used in the development of a touchscreen-basedhuman–machine interface (HMI) for use in industrial manufacturing settings.

To create fly-by animations, Cobalt prompts the designer to specify an path (a line or curve) for the “camera eye” to follow as well as a point at which the camera should point, and then renders the animation. A designer can specify such attributes as the angle for the camera’s field of view and can turn on settings such as perspective, which gives rendered images a vanishing point.

Whether the designer is rendering a single image or a multi-frame animation, Cobalt offers broad control of lighting, including the ability to illuminate images with sunlight wherein the date, time of day, latitude, and longitude are all user-adjustable to obtain accurate shadows.

Drafting Assistant

Ashlar-Vellum’s patented, 23-year-old “Drafting Assistant” is the central component of Ashlar’s “Vellum interface”.^[5]

The Drafting Assistant tracks the position of the designer’s cursor and looks for nearby geometry. It then automatically displays information alongside the cursor regarding nearby geometric features to which the designer can snap. The designer can create new geometry at those snap points, or create construction lines to serve as guides. The Drafting Assistant is sensitive to the following geometric attributes:^[6]

• Centers
• Endpoints
• Intersections
• Midpoints
• Perpendicularities
• Quadrants
• Tangents
• Vertexes

Drafting Assistant remembers the last snaps with a weighted algorithm to intuit the designer’s intentions; thus, it is easy to snap to intersections in empty 3‑D space.

In the animation at right, the designer first snaps to the X-, Y-, and Z-axis coordinates at the midpoint of the top edge and then snaps to the same spot on the leading edge, which has different X- and Z-axis coordinates. He moves his cursor to a point in 3D space where there are no geometric attributes to snap to. Although there may be 3D surfaces underneath the cursor, Drafting Assistant intuits the designer’s intent and offers an intersection point comprising the Y- and Z-axis coordinates of the first edge and the X-axis coordinate of the nearest edge. At this location, the designer adds a circle freehand and then specifies a diameter of 200 millimeters by typing it into the box at bottom right. Last, the designer uses the “Remove profile from solid” tool to cut through the block. Here again, Drafting Assistant enables prompt definition of the depth of the cut by snapping to the back quadrant of the intersecting hole.

The Drafting Assistant also provides a “Message line” at the top. This displays instructions appropriate for the selected tool, prompts the designer with what he should do next with any given tool, and reminds the designer of optional modes for those tools.

Cobalt’s parametrics and history tracking work permits the designer to later edit the diameter and/or location of either circle—both of which have dependencies (holes in the block)—and the model updates accordingly.

Cobalt (CAD program)

Cobalt is a parametric-based computer-aided design (CAD) and 3D modeling program that runs on both Macintosh and Microsoft Windows operating systems. The program combines the direct-modeling way to create and edit objects (exemplified by programs such as SpaceClaim) and the highly structured, history-driven parametric way exemplified by programs like Pro/ENGINEER.

Cobalt integrates wireframe, freeform surfacing, feature-based solid modeling, photo-realistic rendering (see Ray tracing), and animation. Cobalt, a product ofAshlar-Vellum, is history-driven with associativity and 2D equation-driven parametrics and constraints. It offers surfacing tools, mold design tools, detailing, and engineering features. Cobalt includes a library of 149,000 mechanical parts.^[1]

Cobalt’s interface, which the company named the “Vellum interface” after its eponymous flagship product, was designed in 1988 by Dr. Martin Newell ^{[Note 1]} and Dan Fitzpatrick. The central feature of the Vellum interface is its “Drafting Assistant”, which facilitates the creation and alignment of new geometry.

Current State of Design Methods

There is no one way to practice design methods. John Chris Jones recognized this by stating:

"Methodology should not be a fixed track to a fixed destination, but a conversation about everything that could be made to happen. The language of the conversation must bridge the logical gap between past and future, but in doing so it should not limit the variety of possible futures that are discussed nor should it force the choice of a future that is unfree." ^[9]

The focus of most post-1962 enhancements to design methods has been on developing a series of relevant, sound, humanistic problem-solving procedures and techniques to reduce avoidable errors and oversights that can adversely affect design solutions. The key benefit is to find a method that suits a particular design situation.

The benefits of their original work has been abstracted many times over; but in today's design environment, several of their main ideas have been integrated into contemporary design methods:

• Emphasis on the user
• Use of basic research methods to validate convictions with fact
• Use of brainstorming and other related means to break mental patterns and precedent
• Increased collaborative nature of design with other disciplines

A large challenge for design as a discipline, its use of methods and an endeavor to create shared values, is its inherent synthetic nature as an area of study and action. This allows design to be extremely malleable in nature, borrowing ideas and concepts from a wide variety of professions to suit the ends of individual practitioners. It also makes design vulnerable since these very activities make design a discipline unextensible as a shared body of knowledge.^[10]

Long before Malcolm Gladwell and his book Blink, there was Donald Schon at the Massachusetts Institute of Technology. In 1983, he published The Reflective Practitioner.^[11] He saw traditional professions with stable knowledge bases, such as law and medicine, becoming unstable due to outdated notions of 'technical-rationality' as the grounding of professional knowledge. Practitioners were able to describe how they 'think on their feet', and how they make use of a standard set of frameworks and techniques. Schon foresaw the increasing instability of traditional knowledge and how to achieve it. This is in line with the original founders of design methods who wanted to break with an unimaginative and static technical society and unify exploration, collaboration and intuition.

Design methods has influenced design practice and design education. It has benefitted the design community by helping to create introductions that would never have happened if traditional professions remainedstable, which did not necessarily allow collaboration due to gatekeeping of areas of knowledge and expertise. Design has been by nature an interloper activity, with individuals that have crossed disciplines to question and innovate.

The challenge is to transform individual experiences, frameworks and perspectives into a shared, understandable, and, most importantly, a transmittable area of knowledge. Victor Margolin states three reasons why this will prove difficult:

• Domain knowledge is a mixture of vocation (discipline) and avocation (interest) creating hybrid definitions that degrade shared knowledge
• Intellectual capital of design and wider scholarly pluralism has diluted focus and shared language which has led to ungovernable laissez-faire values
• Individual explorations of design discourse focuses too much on individual narratives leading to personal point-of-view rather than a critical mass of shared values

In the end, design methods is a term that is widely used. Though conducive to interpretations, it is a shared belief in an exploratory and rigorous method to solve problems through design, an act which is part and parcel of what designers aim to accomplish in today's complex world.

Significance of Proliferation of Information Technologies

John Chris Jones and many original participants knew that computer technology would transform and automate human actions. They were 30 years ahead of the expansion of the Internet and explained the basic premise of its value by stating:

"The ideal picture of a man-machine symbosis is . . .one in which machine and human intelligences are linked into a quickly responding network that permits rapid access to all published information . . .The nett (sic) effect is expected to be one of mutual stimulation in which open minded people and progammes nudge each other into unpredictable, novel but realistic explorations . . .".^[9]

Proliferation of Information Technologies

Internet businesses realized early that technologists alone were not going to create "killer apps" that would win customers. Companies such as Scient, Viant, Sapient, RazorFish and USWeb/CKS began to hire a wide variety of professionals to collaborate in three broad groups:

1. Business consulting to address business models and front-end research of markets;
2. Technologists that knit together legacy systems with internet-based technologies; and
3. Brand/creative professionals that would create a seamless customer experience.

Customer relationship management (CRM), Supply Chain, and Enterprise Resource Planning (ERP) professionals belonged to any of these groups. Together they had to rapidly accelerate time-to-value and learn how to do things that had little precedent. This context was an amplification of Donald Schon's theories of unstable knowledge bases developing new ideas by a phenomenological approach of direct application and experience.

Strategy began to be redefined from an MBA-focused domain into an area both technology and brand/creative professionals moved upstream and engaged as up-front strategy. Other professionals were incorporated from cognitive science, ethnography, and library science (to name a few). Inherent in these groups were rigorous research-based methods which were overlaid onto business, technology and brand/creative. User-centric approaches were developed resulting in the creation of whole workflow systems to accommodate diversity in skills and tools. These diverse groups brought markedly different languages and models native to their disciplines which posed significant integration-challenges, including hours, in determining how to work together.

Clement Mok, founder of Studio Archetype (acquired by Sapient), recognized this trend and began to articulate the new professional design situation being agitated by new information technologies marked by theInternet and advancements in computing media. He described a multi-media landscape that was converging into an integrated digital space. Adjacent to this was the redefinition of skills and roles that would create, build, sustain, and innovate this dynamic environment. He called for graphic/visual designers to broaden their perspective, beyond traditional artifacts and methods, and immerse themselves in a collaborative workspace. In his book, Designing Business,^[8] Mok emphasized redefinition of design practice dramatically affected by technological change: "Designers are in a position to promulgate new values and to define and quantify the effects of those values, and over the next ten years, their optimum role will be to design 'understanding.' The age we're living now is an incredible time because of the extent to which designers, business people, engineers, and technologists can redefine their roles."

Significance of Design Management

Design methods initially was focused on how design could be integrated into engineering and grew to recognize the multidisciplinary nature of solving contemporary complexity in all its forms. John Chris Jones recognized the role of business, as one stakeholder among many, but did not view design methods as a business management tool. Design management focuses on how to define design as a business function and provides a language and method of how to effectively manage it.

Alternative View

Some designers and design historians have challenged, even rejected, the idea that design supports the goals and objectives of the economic systems they find themselves in. Victor Papanek (1925–1998) was a trail blazer in the definition of sustainable design and addressing social issues through design. His book Design for the Real World in the late 1960s articulated a world for design to use less resources and address local social issues for ecologically sound design to serve the poor, the disabled and the elderly. The disciplines of sustainable design and universal design are echoed here.

Professor of design history at the University of Illinois at Chicago Victor Margolin addressed the inherent role of design communities supporting an economic system, which he called the "expansion model", where "the world consists of markets in which products function first and foremost as tokens of economic exchange. They attract capital which is either recycled back into more production or becomes part of the accumulation of private or corporate wealth." Margolin describes a "sustainable model" as having "ecological checks and balances that consists of finite resources. If the elements of this system are damaged or thrown out of balance or if essential resources are depleted, the system will suffer severe damage and will possibly collapse." ^[7]

Design Management

An area of study and application that either raises the awareness of business professionals how to integrate and manage design, and/or the integration of business issues, systems and methods and managing their interdependency with design activities and outcomes that support the economic systems which benefit from a designers vision, skills and deliverables.

While this relationship has been identified, it has not been universally recognized or accepted by diverse design communities. Designers have strong connection not only to clients but also to end users who consume products and services. One of the strongest early advocates was Peter Gorb, former Director of London Business School's Centre for Design Management.

Design as a function within corporations, or as independent consultancies, have not always collaborated well with business. Clients and the market have traditionally viewed design as an expressive and production function, rather than as a strategic asset. Designers have focused their skills and knowledge in creating designed artifacts, and indirectly addressed larger issues within this creative process. They have been uneasy about articulating their value to business in terms that business executives could understand.

There were moves to bridge this gap. In England, the British Design Council (now called the Design Council) was founded in 1944 by the British wartime government as the Council of Industrial Design with the objective "to promote by all practicable means the improvement of design in the products of British industry". The Design Management Institute is an international nonprofit organization that seeks to heighten awareness of design as an essential part of business strategy. Founded in 1975, DMI has become the leading resource and international authority on design management.

Significance of Role of Professional Design Practice

Practitioners approached design methods from a different angle than John Christopher Jones and the group of engineers and designers who convened in 1962. Many practitioners, through actual design opportunities, began to confront the complexities of the market and clients. They began to address issues of specifications, users, distribution and innovation. Since there were no established methods, each practitioner began to develop frameworks and languages to describe a new way to design. Like any market-based model, there were many competing ideas about these new methods and their basis. Many of these designers may have been aware of the design methods movement, but many were not. Yet all their ideas were aligned to many of the basic tenants of the 1962 conference which advocated a more rigorous way of doing design. However, the social perspectives and criticisms of mediocre products of 1962 participants may not have been shared or agreed with.

Professional Design Practice

Conversations about design methods and a more systematic approach to design was not isolated to Europe. America was also a magnet for practicing design professionals to codify their successes in design practice and backing into larger theories about the dynamics of design methods.

American designers were much more pragmatic at articulating design methods and creating an underlying language about the practice of industrial and graphic design. They were tied to economic systems that supported design practice and therefore focused on the way design could be managed as an extension of business, rather than the European approach to design methods based on transforming engineering by design.

Industrial design was the first area that made inroads into systematizing knowledge through practice. Raymond Loewy was instrumental at elevating the visibility of industrial design through cult of personality (appearing three times on front cover of Time Magazine). Henry Dreyfuss had a profound impact on the practice of industrial design by developing a systematic process used to shape environments, transportation,products and packaging. His focus on the needs of the average consumer was most celebrated in his book Designing for People, an extensive exploration of ergonomics.

Jay Doblin one of America's foremost industrial designers, worked for Raymond Loewy and was later an employee of Unimark International, the world’s largest global design firm during the 1960s with offices in seven countries. In 1972, Doblin formed Chicago-based Jay Doblin & Associates, a firm which managed innovative programs for Xerox Corporation and General Electric.^[6] Doblin was prolific at developing a language to describe design. One of his best articles was "A Short, Grandiose Theory of Design", published in the 1987 Society of Typographic Arts Design Journal. In seven pages, Doblin presents a straightforward and persuasive argument for design as a systematic process. He described the emerging landscape of systematic design:

• For large complex projects, it "would be irresponsible to attempt them without analytical methods" and rallied against an "adolescent reliance on overly intuitive practices."
• He separated "direct design" in which a craftsperson works on the artifact to "indirect design" in which a design first creates a representation of the artifact, separating design from production in more complex situations.

Doblin and others were responding to the increased specialization of design and the complexity of managing large design programs for corporations. It was a natural process to begin to discuss how design should move upstream to be involved with the specifications of problems, not only in the traditional mode of production which design had been practiced. Particularly since 2000, design methods and its intersection with business development have been visibly championed by numerous consultancies within design industry.

The continuity of approaches to design projects by such representative firms is the generation of inputs incited by the human condition in varied contexts. These approaches utilize a sustainable methods-based mode of making that takes into account critical analytic and synthetic skills toward more informed and inspired specifications grounded in:

• Direct investigation of human circumstances to draw out impressions
• Engagement by client-side and end-user participants in design process
• Open articulation by practitioners of multiple disciplines facilitated by design