Reframing design culture and aging

interactions ◽  
2014 ◽  
Vol 21 (2) ◽  
pp. 70-73 ◽  
Author(s):  
Özge Subasi ◽  
Lone Malmborg ◽  
Geraldine Fitzpatrick ◽  
Britt Östlund
Keyword(s):  
Design Culture

Light Side of Design: Professional Vector

2020 ◽  
pp. 23-33
Author(s):  
Elena A. Zaeva-Burdonskaya ◽  
Yuri V. Nazarov
Keyword(s):  
Professional Practice ◽  
Wide Spectrum ◽  
Scientific Basis ◽  
Design Culture ◽  
Interdisciplinary Nature ◽  
Educational Programmes ◽  
Design Activities ◽  
The Subject ◽  
Light Side

This article addresses one of the most actively developing types of design activities – light design. The article comprises quotes of the leading Russian and foreign light design specialists published over the previous five years, as well as the authors’ own conclusions. The thoughts quoted in the article are sometimes opposite to each other and reflect the wide spectrum of professional practice. They reflect the initial opinions of analysts and experts which are often diverging. All of the specialists point at the interdisciplinary nature of the new profession, which imposes additional load on a designer overloaded enough already by the scope and speed of the problems being solved nowadays. The discussion of the new profession of light designer initiated on the pages of professional publications is especially important in view of the development of professional standards and standards of design and architectural education, as well as creation of new educational programmes based on various approaches to the subject in technical and humanitarian institutions. The goal of this article is to introduce light design into the field of fully legitimate sections of design culture, to define the authentic scientific basis of the new creative profession, to initiate a foundation for self-determination of the new synthetic area, which materially affects the state of the profession as a whole and the life standards of a wide variety of consumers. In order to reach the set goal, a comparative and analytical method of study was selected, which allows studying the problem to a large extent and from all angles and finding the ways of overcoming the challenges emerging in the area of the new activity.

THEORETICAL AND METHODOLOGICAL ASPECTS OF UNDERSTANDING OF THE SYSTEM OBJECT IN DESIGN

2020 ◽  
Vol 1 (4) ◽  
pp. 5-10
Author(s):  
V. Barysheva ◽  
O. Druzhinina
Keyword(s):  
Scientific Research Institute ◽  
Point Of View ◽  
Design Stage ◽  
Comprehensive Understanding ◽  
Design Culture ◽  
Design Program ◽  
Methodological Aspects ◽  
Cultural Experts ◽  
Union Scientific Research Institute ◽  
Separate Product

The article is devoted to the analysis of the system object from the point of view of design from design, sociocultural and philosophical positions. The authors systematize the definitions of a system object of design proposed in the 1960–1980s by theorists and practitioners, art historians, cultural experts and philosophers from different countries, including Russia, which allows a comprehensive understanding of the phenomenon of design culture. This article is devoted to the characteristic properties of the system object in design. They were considered and analyzed on the example of the «Absheron» design-program when designing of agricultural village). This concept was developed at the All-Union Scientific Research Institute of Technical Aesthetics (VNIITE) in 1983. Using the same example, the features of the approach to designing a system object in design was observed not only as a separate product, but as a sociocultural situation that constantly changes at each design stage.

TO THE PROBLEM OF FORMING THE CATEGORIAL AND CONCEPTUAL APPARATUS OF THE COURSE “HISTORY AND METHODOLOGY OF DESIGN DESIGN”

2020 ◽  
Vol 1 (2) ◽  
pp. 8-15
Author(s):  
N. Aganina ◽  
D. Filonenko D.
Keyword(s):  
Design Theory ◽  
Comparative Method ◽  
Dynamic Structure ◽  
Cultural Analysis ◽  
Problem Statement ◽  
Conceptual Systems ◽  
Concepts And Categories ◽  
Cultural Approach ◽  
Conceptual Apparatus ◽  
Design Culture

The relevance of the study is due to the inevitable obsolescence of fixed concepts and categories of design theory that make up the theoretical foundation of the master's course “History and Methodology of Design”, which is associated with the closeness of the resulting categorical-conceptual systems. The aim of the study is to create a dynamic structure of concepts and design categories that form the categorical-conceptual apparatus of the course. As a methodological basis of the study, a cultural approach is used that allows one to "practically implement a systematic view" on a design that is in the process of constant development and updating. In the course of work, the following research methods are used: problem statement, definition and systematization of concepts and categories, comparative method, historical and cultural analysis. As a result of the study, the authors of the article propose to consider the system of concepts and categories of the course in the form of a “network” formed around the concept of “design culture”, the content of which is revealed using the category of “proektnost”. The proposed structure allows us to preserve the fundamental plurality of interpretations of the concept of design and justify the methodological pluralism of design practice.

Managing Expectations – Contemporary Design Culture, Conservation and the Transformation of The Richards Laboratories

2018 ◽  
pp. 20-29
Author(s):  
David N. Fixler
Keyword(s):  
Mechanical Systems ◽  
University Of Pennsylvania ◽  
Architectural Form ◽  
Design Culture ◽  
Complete Work ◽  
Significant Change ◽  
Literal Expression ◽  
The University

Louis I. Kahn’s Richards Laboratories at the University of Pennsylvania are a paradoxical building. At the same time that they perhaps represent the epitome of Kahn's literal expression of structure and material hierarchy, servant and served spaces and the role of mechanical systems in determining architectural form, these powerful ideas never came together programmatically to enable a fully functional, complete work of architecture. This paper describes the quest to solve the functional conundrum and technical shortcomings of Richards, to bring the architecture and program closer together. Through a synthesis combining transformation — a significant change in use that allowed the opening of the laboratory floors to the unique light and views that were always latent in the promise of Kahn’s essential architectural idea — and rehabilitation, where the best aspects of Richards — the glazed, vitrine-like facades and the beautiful logic of the building services distribution, were renovated for enhanced performance, Kahn’s original architectural vision and present function were able to be successfully reconciled.

scholarly journals Regeneration through Design. Comparing old and new phases of urban renewal strategies

2016 ◽  
Author(s):  
Carla Sedini ◽  
Marina Parente ◽  
Giuliano Simonelli
Keyword(s):  
Second Phase ◽  
Heavy Industry ◽  
Urban Structures ◽  
Strategic Design ◽  
Italian Case ◽  
Design Culture ◽  
Two Phases ◽  
Industry Sectors ◽  
New Phase ◽  
Wool Industry

In the last years, a new phase of economic crisis, which is concerning sectors of manufacturing industries, is affecting Europe. Focusing on Italy, sectors which have strongly characterized our country, such as textile and accessories, are facing with an fluctuating period of crisis. Also in this case, as it happened from late ‘80s, the urban structures and identities are seriously affected and need interventions of regeneration in order to gain new life both from social, productive and commercial point of views. Having in mind the Italian case, while the first phase identified had the characteristics of a disruptive macro-phenomenon, the second phase is more subtle and gradual. In this paper we are going to focus on changes of design culture in light of these urban phenomena. While we can already make a first evaluation of regeneration projects developed after the crisis of heavy industry sectors, the most recent events of industrial recession and the consequent regeneration of the correspondent empty areas are still ongoing. In order to analyze and, where it is possible, compare these two phases, we are going to look at two Italian case studies. The first is Bicocca, an area of Milan, which in the ‘90s was interested by a massive plan of regeneration and transformation after the closure of Breda and Pirelli industries. The second is Biella, a Piedmont Province city, which has been one of the most important centers for the textile and wool industry; the crisis of this sector strongly emerged in the first years on 2000 even if it had already begun between ‘80s and ‘90s when the biggest textile factories closed down. The differences between these two examples are not merely physical and dimensional but are clearly influenced by a different timing in the regeneration processes, which occurred in these areas (or, in the case of Biella, is still occurring). The analysis proposed in this paper will be focus on the action-research developed within two didactic experiences. Notwithstanding the distinctions in terms of objectives and actors involved, in this paper we are going to delineate a systemic approach to study and design for the regeneration, improvement and innovation of places. We will try to understand if, through strategic design, it is possible to identify those soft levers and interventions able to rejoin the pieces of places, which lost their functionality and identity.DOI: http://dx.doi.org/10.4995/IFDP.2016.3284

scholarly journals Application of Flower and Bird Patterns in Modern Makeup and Hair from the Perspective of Design Culture

2021 ◽  
Vol 3 (5) ◽  
pp. 113-118
Author(s):  
Chen Wang ◽  
Dan Liu ◽  
Xiaoman Huang
Keyword(s):  
National Culture ◽  
Traditional Culture ◽  
Modern Design ◽  
Important Material ◽  
Design Culture ◽  
The Times ◽  
Traditional Patterns ◽  
The Aesthetic

Under the background of the vigorous development of various cultural and artistic forms, the traditional patterns that can express the unique charm of Chinese national culture have become an important material for modern design. Traditional patterns not only have unique decorative functions, but also represent the spirit of traditional culture. Among them, flower and bird patterns are also precipitated by history. It is worth exploring how to combine the flower and bird patterns with the aesthetics of the times, and how to integrate the traditional flower and bird patterns with the nature of the times. Starting with the formation and development of flower and bird patterns, this paper analyzes the historical, cultural and aesthetic attributes of flower and bird patterns from the perspective of design culture, and expounds the application of flower and bird patterns in makeup and hair in various historical dynasties. With the development of the times, the application of flower and bird patterns in modern makeup and hair should be both national and in line with the aesthetic requirements of modern people.

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