Origins of Industrial design at the University of Guadalajara.pdf (original) (raw)
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Proceedings of the 10th International Conference on Design History and Design Studies, 2016
What is it that defines design in a country facing the phenomena that led to significant worldwide changes in the 21st century? This document analyses the impact of cultural, social and technological transformations from the 1980's in the design discipline and the consequences generated in the profession's development in the first years of the 21st century. In an increasingly changing and complex world, design has reconceptualised, creating new profiles in the professional practice of design and generating change in disciplinary training. As a response to these changes, the design profession has set new limits in its relationship with society, and is faced by the ambivalence of whether attending social priorities and emergencies, or responding to the countless production of goods that are flooding the world through globalized markets. How has this situation affected Mexico and Latin America, and how has this region responded to the transformations being faced in the 21st century? If we were to see design as a system that interacts with the socio-economical, political and cultural environments, its response shows us three different general situations. These identify this discipline in the region and its impact in society within and beyond it's borders. This text shows the change in design from the historiographical and phenomenological perspective, and explores a prospective analysis on the future of the discipline from the study of the transformations that are building the new paradigm of design in this century.
FOROALFA / ISSN 1851-5606 / Argentina, 2014
The development of industrial design education in Colombia has been underway for half a century. Yet, two different theories have emerged about its origins. The most traditional of these is published by Silvia Fernandez, and directs attention to the European heritage of the practice. The latter is espoused by Juan Camilo Buitrago, and focuses on cultural autonomy. To understand this topic through the lenses of these two historians, it is important to explain a bit about the context in which design education developed.
The Making of an American Design School
The Myron E. Ullman, Jr. School of Design, 2019
How design is taught in a particular place can be influenced by many factors, and some of them may not be immediately obvious. From local history, geography, economics and politics, to access to natural resources and industry can all have an impact on the design philosophy of a particular school in a particular city or a country. This is why one approach to teaching design may vary markedly from that in another, and both can be perfectly appropriate when used within their own contexts. This is what makes the field of design so diverse and exciting. It is also what makes the leadership of a design school so complex and demanding. Each design school faces a unique set of challenges, problems, and opportunities; but it is the combined contribution of each of these schools that helps define the field of design nationally and globally. The focus of this text is the legacy of one of the oldest university-based design programs in the United States, The Myron E. Ullman, Jr. School of Design at DAAP, University of Cincinnati. By examining the 150-year history of the institution, and reflecting on its present state of affairs, the School Director Gjoko Muratovski sets the tone for the future of one of America's leading design schools.
This paper outlines a framework for understanding design, it moves the focus from the traditional study of design outcomes – the history of design – to the cognitive processes involved in the act of designing – the history of designing. It will present three consecutive cognitive periods via which the history of designing can be acknowledged to have discussed how the pre-eminence of particular kinds of reasoning are determined by environmental and disciplinary factors. Accordingly, this historical perspective elucidates key elements for recognizing cognitive traits in contemporary design practice, thus aiming to enhance the design process by means of a deeper understanding of the nature of design problems, and ways of tackling them.
Inter-Trans-Post-Disciplinarity : Design Education in the Post-Industrial Era
2013
Design appears to be a young academic field without a clear and defined domain, when it is compared to other disciplines which are historically stabilized and acquired a better recognized disciplinary theoretical apparatus. Design thinking has grown often touching far territories of knowledge and always placing its line of research on the track of innovation, between material and immaterial, product and service. As Design turns out to produce knowledge, while giving an interpretation to reality and being strategic for innovation, the following paper raises some questions: is Design a discipline without any given field? If we consider it as an open structure, what geometric organization is drawing while connecting other fields? Along with the occurrence of the post-industrial society of knowledge, should we still call the discipline industrial design? What are its epistemological assumptions? From a didactic and research experience at Carleton University in Ottawa (Canada) with the d...