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design
Perimeters, Boundaries and Borders, 2008
Design now, perhaps necessarily, transcends many traditional subject areas. Designers no longer reside comfortably in categories such as product, furniture and graphics. Tony Dunne, Head of Interaction Design at the Royal College of Art, London states: “New hybrids of design are emerging. People don’t fit in neat categories; they’re a mixture of artists, engineers, designers, thinkers. They’re in that fuzzy space and might be finding it quite tough, but the results are really exciting.” (West, 2007).
Design today has become an extremely wide area of expertise, overlapping with many other disciplines. Knowledge of the classics of modern design has almost become a common cultural property. Design objects today are presented in a similar manner as art. This book is my interpretation of the design process, covering all disciplines. In the book, I will be occasionally shifting from one discipline to another, but this is because, in reality, disciplines are overlapping themselves. I think it is important to provide as much as possible a holistic overview. There are many different interpretations of design and according to me, as long as the designer can explain and communicate his work in a rational matter, there are no wrong or right design interpretations. I make no attempt here to create an encyclopedic enumeration of some kind; rather this book is designed, to present a survey of the main lines of the design development, and influential factors that may and will determine the future of the design process. This book represents a contemporary overview of that process and relates to the tendencies of the integrated design approaches in industry and the knowledge that lies behind. This book has been written and designed as a Masters Project at the Bergen National Academy of Arts (2004 - 2006). I would like to thank this institution for choosing me to become a part of the first generation of the Master students in Design and Visual Communication in Norway. Having American, German, French, British, and Norwegian professors, made the work on this book a valuable international experience.
Cubic Journal
This issue of Cubic Journal concerns making, and the value-structures connected to the premise, before and after execution. Fifteen authors and constituent research teams present their work in manifested design research here. In this work, physical, semi-physical, and transitionally physical embodiments of objects, spaces, and prototypical design conjectures are part and parcel of the researchers’ progress. Embodiment neither preempts, nor follows their work, but is essentially the substance of research itself within these manuscripts. The editors collected this work as status-taking for a broad range of creative and scholarly enterprises in several regions of the world. European, Southeast Asian, and American authors in architectural and product design fields provide perspectives on making-centric design research, across manual, digital, post-digital, and post-consumer spectra of fabrication. But as an assemblage, these works are more than a catalogue. They prompt retrospective tho...
Architectural education should advance in parallel with the industrial growth of building technology. Universities as producers of future architects have yet to develop curriculums for building technology to suit the growth of the building industry. This gap between education and industrial growth has been a topic of debate for many researchers who are concerned about architectural pedagogy. Architectural instruction further aggravated the problem whereby in most architectural schools worldwide, teaching is divided between the design studio, where the design projects are taught and lecture classes where the technical parts are taught. The latter should be integrated with design studio to enhance design levels. Students face difficulty integrating and applying the structural knowledge gained from structure classes into their design. One explanation for this deficiency is because the current architectural structure subject"s content is borrowed from an engineering syllabus. This study will examine the course content, instruction styles and method of teaching structure subjects and will investigate the learning outcomes of design studio through students" performance and perception in integrating structural knowledge in their design projects. Respondents were students from Year 1 to Year 5 doing their Bachelor of Science in Architecture and Bachelor of Architecture degrees in University of Malaya. Semistructured interviews were conducted with the design studio coordinators and structure lecturers. This study aims to find the ideal course content/method of teaching to facilitate more integration between structure and design studio.
In 2001, Hal Foster wrote his paper “The ABCs of Contemporary Design*” (Foster, 2002a) as a supplement (part glossary, part guide) to his book Design and Crime (and Other Diatribes) (Foster, 2002b). Foster’s ABCs paper paints design as being a near‐perfect circuit of production and consumption. Foster claims that critical reflection is outdated, which means design is a consumption‐based system and as such design’s role is largely to feed capitalism, let it flourish, and meet the demands of the masses. Over a decade on from Foster’s critical analysis of design, however, it appears that design is in the middle of yet another series of crises (Bremner and Rodgers, 2013) ranging from disciplinary challenges where the profession of design appears to be struggling with its identity, to epistemological and conceptual challenges where the zeitgeist of design thinking and the widespread democratization of the discipline would have us believe that “we are all designers”, and where the remit of design is expanding into ever more far flung areas that cover communications, services, interactions and strategies. It seems timely and fitting, therefore, that we need a new examination of the contemporary world of design. This assessment of contemporary design is apposite given that we currently inhabit a world that we have all combined to create that is seriously unprepared to deal with the mounting crises we face. Collectively, we are destroying some of the most important features of society that we claim to hold most dear (i.e. our planet, our society, and our spirit). Our ecological crisis, wherein we continue to deplete and degrade our natural capital on a massive scale, using up the equivalent of 1.5 planets to meet our current consumption has resulted in one third of our agricultural land disappearing over the last 40 years, which will inevitably lead to food supply crises and an anticipated doubling of food prices by 2030 (Emmott, 2013). Our present social crisis sees nearly 2.5 billion people on our planet living in abject poverty (UNHDR, 2007). There have been many successes at lifting people out of poverty, but this figure has not changed much over the past few decades (Therborn, 2012). Furthermore, the world is currently in a spiritual crisis where, according to World Health Organization (WHO) statistics, 3 times as many people die from suicide as die from homicide or in wars. These global dimensions are collectively creating results that nobody wants and may well constitute the most significant failure of our time. Building on Foster’s ABC template, the authors present a new critical insight from A to Z into the current design situation where issues of professionalism in design, the global financial meltdown, and the rapid adoption of digital technologies have all modified the models of design thought and action. We suggest readers see this paper as a development of Foster’s original supplement.
المجلة العربية للإدارة
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