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This paper prompts an introductory overview regarding the historical paths and the theoretical-practical properties of social design in the realm of design education in Brazil. Initially, the precedents towards socially oriented design in Latin America are summarised. Subsequently, two master's theses, a book, and a round table are analysed as an assemblage of pedagogical experiences in the approach of social design. Hence, this microhistorical examination on design exchanges, such as events and documents, is grounded on the scopes of social history and history of education. As in the framework of a concluded doctoral thesis, social design is envisaged as a topic of inquiry within design history studies and focused on the academic tripod of 'teaching – research – extension' in the Brazilian scenario. [ABSTRACT FROM AUTHOR]

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Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This introductory essay highlights the key themes that appear in the four essays that make up the special issue: 'Complex Interior Spaces in London, 1850–1930', which focuses on street markets, railway stations, winter gardens and people's palaces, and a hospital. Those themes include complexity and multifunctionality; nodes and networks; modernity; materiality and spatiality; the public/private spheres; and user experience. The fact that the essays emanate from a design historical perspective places a new emphasis on the complex interiors of the buildings under review, and on the activities that went on in them, rather than on their architectural facades. While these building types were not unique to London, this introduction suggests that their size and scale were particular to that city. [ABSTRACT FROM AUTHOR]

With products reaching the whole world and being sold by thousands or millions the responsibility of designers has never been higher. A design mistake can cause - among others - physical damages, high costs or pollution of diverse types. Each mistake has consequences, whether before or after sale to various actors (manufacturing company, users, recycling company, etc.) and has to be avoided. Research is starting to integrate environmental impacts within the Model-Based Systems Engineering (MBSE) approach and particularly within System Modeling Language (SysML) as a tool to foresee design decisions according to previous gained knowledge. Following this, the research holds on existing foundations and proposes to extend current research efforts into a new SysML Assistant to capture the essence of product design and thereby support product development decisions. This paper focuses on the first part of the research, proposing design principles and warnings from requirements via the SysML Assistant. When facing a decision, designers can question the Assistant about examples of what had been designed before in similar or different domains. Depending on the request, designers receive, a formatted object containing several solutions or design principles (requirements, specification, use cases, test cases, warnings) for possible implementation. Various benefits are foreseen with the proposed research. First, a reduced design development time with an increased quality of products in the long term. Second, a reduction of product environmental impacts as well as repeated design mistakes. Third, an incentive to designers competitivity to achieve better design. [ABSTRACT FROM AUTHOR]

The paper presents an analysis of the evolution of Open Design and Open Manufacturing from 2000 to 2020. The two phenomena are examined by taking into account real experiences in these fields in order to track the most relevant developments. The first step of the research consisted in the identification of the best-known and most often cited experiences, which have been collected into four different subsets, according to their type, and organized into a chronological visualization. The second step of the research involved the identification and description of three case studies, one for each of the main types: Instructables, OpenStructures and Precious Plastics. Finally, the paper identifies three main time frames, and expresses the constructive and the critical aspects of the two open processes, concluding with a speculation on three possible futures. [ABSTRACT FROM AUTHOR]

In the late 1930s, design studies in China underwent a paradigmatic shift when the cosmopolitan idioms fashioned within treaty-port cities were rejected in favor of populist ethnonationalism, developed along the border regions of wartime China. This essay examines design compendia by Pang Xunqin and Lei Guiyuan, founding figures in modern design studies, as proposals that advocate for a reevaluation of folk and ethnic-minority traditions. Shaped by a signal moment in wartime modernism, the design proposals are located at the conjunction of two fields of knowledge that were discursively reframed by the heightened cultural nationalism of the Sino-Japanese War: the expansion of modern archaeology, and ethnographic study of minority cultures. In reclaiming folk-minority craft as a generative source of decoration, Pang Xunqin and Lei Guiyuan were also critically engaged with delimiting the design profession as a specialized realm of knowledge production. [ABSTRACT FROM AUTHOR]

The purpose of this article is to gather and analyse the visual appearance and interface of "comprehensive design" within different historic, social and cultural contexts. As elaborated by R. B. Fuller in 1949, the "comprehensive designer" is "an emerging synthesis of artist, inventor, mechanic, objective economist and evolutionary strategist", who is to synthesize the knowledge produced by various fields of science and tries to bring balance to the world. The notion of comprehensive design can be seen as a way of designing in regards to and across both small and large scale design activities that perceive the world as an interconnected system. As to answer how this notion was visualized, the article will analyse the interfaces of "comprehensive design" including May's New Frankfurt, Fuller's "World Game", Bonsiepe's Cybersyn project and Archigram's projects which seem to have high relevance in the contemporary efforts in designing a new type of sustainable city. [ABSTRACT FROM AUTHOR]

Over the past decade, anthologies – also called ‘readers’ – of design history and theory have proliferated across publishers’ catalogues. These books perform important pedagogical functions: they define fields and establish canons of authoritative texts, authors and concepts. While detractors argue that the easy availability of textual sources online means that we no longer need anthologies, the opposite argument can be made: the overwhelming volume of electronic information sharpens the need for concise, edited selections. This paper examines the practices of selecting, editing and publishing anthologies and the reasons for their increasing popularity, particularly in design education, at the present time. [ABSTRACT FROM AUTHOR]

In the first of a series of invited papers to mark the 20th volume of the Design Journal, founding editor Rachel Cooper reflects on the changing landscape of design research activity since the journal’s launch. [ABSTRACT FROM PUBLISHER]

Copyright of InfoDesign: Revista Brasileira de Design da Informação is the property of Infodesign: Revista Brasileira de Design da Informacao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Strategic Design Research Journal is the property of Universidade do Vale do Rio dos Sinos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explains how design history can become a tool for better design practice. Design historians are inclined to perceive the aesthetic idioms pertaining to past artefacts as expressions of particular periods, and their aesthetic validity as limited to the periods in question. this tends to turn design history before the bauhaus into an overview of extinct aesthetic species. However, the 'objects of the past' in fact exist right now, in the present, both physically and as multiple images. What is needed to turn the aesthetic captives of design history into a treasure trove for present-day designers is to develop an ability, lost in teachers and students alike, to see the pre-bauhaus world of aesthetic idioms as part of our present. In order to achieve this, we design historians should cease to subscribe to the self-serving modernist claim that there is just one genuinely modern aesthetic idiom. [ABSTRACT FROM AUTHOR]

In this paper, we propose a design framework based on Brand & Rocchi's (2011) four economic paradigms: the industrial, experience, knowledge and transformation economies. As design moves from one paradigm to another, its role changes with respect to the user, society, business and manufacturing. The industrial and experience economies are well-established, the knowledge economy is unfolding and the transformation economy is still in its infancy. Each of these paradigms calls for different design processes, methods and tools, as well as new breeds of designers with different competencies. We argue that if a company continues to use processes, methods, tools and competencies from an older paradigm, it can only come to solutions that fit that older paradigm. By contrast, adapting to a new paradigm will allow companies to extract more value from the marketplace. Companies that wish to enter Paradigms 3 and 4 will need to adopt new approaches to design innovation, for which we include recommendations. Developing this framework has helped us to chart implications for our own capability development; we publish it here because we believe that future innovation will require intensive collaboration between stakeholders, and so shared understanding of methodologies is crucial. We illustrate the framework with early signs in the area of durable consumer goods and with examples from other parties as well as our own. [ABSTRACT FROM AUTHOR]

The Austrian Museum of Art and Industry, the first of its kind on the European continent, gave equal status to domestic crafts from the provinces and the cosmopolitan luxuries of the Habsburg dynasty. The museum was thus assigned the task of forging a cohesive imperial identity, becoming the tool with which Austria-Hungary could assert itself as an effective imperial power, both locally and globally. By considering three significant exhibitions in the first 50 years of the museum's history - the Vienna World's Fair in 1873, the exhibition of Austrian Cottage Industry and Folk Art in 1905, and the exhibition that accompanied the 9th International Housing Conference in 1910 - this article investigates Austria's transition from the classic model of mid-nineteenth-century imperialism to a uniquely pan-regional empire focused on notions of domesticity and cultural preservation, turning ultimately to the Socialist concerns that would form the basis of the post-imperial Austrian state. [ABSTRACT FROM AUTHOR]

In this paper, we describe a ten-year project to develop a 'next-generation' computational infrastructure for community networks. Our design work was inspired by the paradigm of web-based hypermedia exemplified by the Blacksburg Electronic Village. We incorporated user interface ideas from multi-user domains, virtual environments, and geospatial information systems, and tried to emphasise place-based user interactions and applications. We called this infrastructure for community networking MOOsburg. As the project progressed, we have continuingly reweighed the original orienting design issues and trade-offs, and we have revised and refined our design approach. In our reconstruction, an important theme in this design work, one that transcends and integrates the specific design approaches we investigated, was support for greater coherence in collaborative community activity. [ABSTRACT FROM AUTHOR]

Today, we might consider airplane cabins the most iconic example of what Marc Augé has termed "the non-places of supermodernity." To the casual, indifferent glance of today's traveller, weary from long confinement inside overcrowded planes, these cabins may indeed appear to be thoroughly standardized, commercialized spaces, revealing no connection to specific localities, temporal continuity or spatial integration. The contention of this article, however, is that though airplane interiors are quite literally disembedded spaces, their spatial configurations reveal complexities which were clearly demarcated in their historical formation, and are still apparent today. The airplane assembled world geography and temporal experience in new ways and was thought, in the process, to mark the beginning of a marvellous new air age. How were airplane cabins to express such expectations? What should passengers occupy themselves with while airborne? How would their inert bodies relate to the speeding airplane, to the outside air surrounding them and the face of the earth below, much less to the period of time spent inside the flying cabin? Civil aviation was launched in the aftermath of World War I. Though many of the first civilian flights of the early 1920s were aboard rebuilt bomber aircraft, their cabins were nonetheless carefully designed to implant in passengers notions of modernity safety, speed and exhilaration. Based mainly on Scandinavian sources from the interwar years, this article discusses the many conflicting intentions and strategies embodied in the layout of airplane cabins, the design of seats, windows, wall decorations, etc. These conflicts were equally evident in somewhat chaotic attempts to invent the social practices of air travel. The multiple functions of airplane interiors which are familiar today - effective business office, cosy living room, luxurious lounge, safe and quiet bedroom - were all specified and promoted in early civilian flight. Besides these attempts to make the air cabin recognisable, passengers had to contend with the strangeness of an interior without an exterior, their bodies paralyzed and their thoughts confronted with an empty, malleable time - a pure duration contrasting with the terrific speed of the airplane. These practices, combined with the serene "god's eye view" of the world below - the synoptic gaze of the air traveller - mobilized diverse spatial configurations. Though the interior of airplane cabins has since been hyper-standardized, these spatial complexities still exist, complicating attempts to reduce them to an expression of a global, uniform, supermodern logic of non-places. [ABSTRACT FROM AUTHOR]

Since Postmodernism, presenting universal guidelines for aesthetics is highly suspect. However, aesthetics can play a significant role in the acceptance of technology and its success in society, so this paper argues for the generating of specific aesthetic guidelines, based on a general perspective. The goal of the research was to find a method of generating guidelines for the design of a technology to improve the diffusion of that technology in society. Aesthetic theories were generated by comparison of factors with historic precedents (the automobile, the television and the personal computer) The theories were then tested for the design of a social companion robot and a vacuum cleaner robot. From these two design cases it became apparent that the acceptance of both devices can be improved by, respectively, improving their conformity to contemporary design (the social companion robot), or improving their conformity to contemporary philosophy of technology (the vacuum robot). [ABSTRACT FROM AUTHOR]

Since Postmodernism, presenting universal guidelines for aesthetics is highly suspect. However, aesthetics can play a significant role in the acceptance of technology and its success in society, so this paper argues for the generating of specific aesthetic guidelines, based on a general perspective. The goal of the research was to find a method of generating guidelines for the design of a technology to improve the diffusion of that technology in society. Aesthetic theories were generated by comparison of factors with historic precedents (the automobile, the television and the personal computer) The theories were then tested for the design of a social companion robot and a vacuum cleaner robot. From these two design cases it became apparent that the acceptance of both devices can be improved by, respectively, improving their conformity to contemporary design (the social companion robot), or improving their conformity to contemporary philosophy of technology (the vacuum robot). [ABSTRACT FROM AUTHOR]

Describes background health and social factors leading to the creation of public parks in Manchester and Salford, England, and describes their design, objectives, financing, development, and the restrictions governing the use of these parks.