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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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This article aims to discuss, through the critical fabulation of Saidiya Hartman, the use of fabulation in the field of design history as a decolonizing methodological tool, as it challenges and problematizes notions of truth and neutrality in research and the boundaries of scientific writing. Assuming that all writing, even that which claims to be committed to reality, has elements of fiction, I argue that researchers in design can engage in writing that, with historical rigor, utilizes imagination not as a means of falsification but as a materialization of what is suggested in documents but escapes the possibility of verification. I conclude that fabulation can be employed as a means to imagine alternative occurrences, as a way to speculate on what cannot be answered through archival materials, and as a tactic for democratizing academic discourse. [ABSTRACT FROM AUTHOR]

This research investigates the cross-cultural design collaborations between Balinese undagi (traditional master builders) and Dutch architects during the early colonial period in Bali (1910-1918). Focusing on three key projects—the Bali Museum (1910), the Bali-Lombok Pavilion at the Colonial Exhibition in Semarang (1914), and the Post-Earthquake Besakih Temple Restoration Project (1918)—this study explores the dialogue and knowledge exchange that occurred despite the prevailing East-West dichotomy. By employing a historical approach within the global design history paradigm, the research reveals how shared goals, constructive dialogue, and mutual respect facilitated successful architectural collaborations. These collaborations not only preserved traditional Balinese architecture but also integrated modern techniques and project management practices introduced by the Dutch. The findings underscore the resilience and adaptability of Balinese undagi, highlighting the broader implications for contemporary architectural practices and policies. This study contributes to a deeper understanding of colonial architectural impacts and the enduring legacy of cross-cultural design exchanges.

Copyright of Yedi is the property of YEDI (Dokuz Eylul Universitesi Guzel Sanatlar Fakultesi Yayini) 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 Arcos: Design, Cultura e Visualidade is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 article aims to discuss, through the critical fabulation of Saidiya Hartman, the use of fabulation in the field of design history as a decolonizing methodological tool, as it challenges and problematizes notions of truth and neutrality in research and the boundaries of scientific writing. Assuming that all writing, even that which claims to be committed to reality, has elements of fiction, I argue that researchers in design can engage in writing that, with historical rigor, utilizes imagination not as a means of falsification but as a materialization of what is suggested in documents but escapes the possibility of verification. I conclude that fabulation can be employed as a means to imagine alternative occurrences, as a way to speculate on what cannot be answered through archival materials, and as a tactic for democratizing academic discourse.

This article follows the International Council of Graphic Design Associations throughout its first 50 years of activities. Initially shaped from Western European perspectives on graphic design, which included the pursuit of universal standards and favoritism towards designers from certain countries, the Council's quest for recognition led its change towards a more inclusive and diverse path. This article concludes by acknowledging the changes the Council went through throughout the years and the nature of its work, along with remarks about the potential contributions of its archive to graphic design history, with valuable documentation on its membership from 1963 to 2003. [ABSTRACT FROM AUTHOR]

Design education in Australia is still largely dominated by Westphalian perspectives, values, histories and ways of learning. The focus on Euro‐western aesthetics, technologies, timelines and processes marginalises other identities, cultures and places. This signals to students that they should internalise, value and master dominant narratives, knowledges and ways of designing. Responding to this legacy, this article details the development of an intersectional and transformative framework to guide pedagogy for design education futures. Drawing from intersectional, student‐centred and transformative learning theories, we argue that students can develop self‐awareness and critical evaluation skills through understanding and designing within their own histories and cultures. In applying our framework, we reflect on how we developed a communication design history curriculum that centres on previously marginalised designers and prioritises pluralistic work that comes out of diverse cosmologies, perspectives and points of view. Early results demonstrate that offering spaces for students to connect design to their own intersectional identities increases self‐reflection and belonging, while engaging students to contribute new knowledges and perspectives to design history than we have had in the past. We hope this framework contributes to design education moving towards and respecting expanded ways of thinking, seeing and teaching design. [ABSTRACT FROM AUTHOR]

In the nineteenth century, acoustic hearing aids (such as ear trumpets or conversation tubes) became ubiquitous attributes of deaf people from polite society. These prostheses were a visible sign of otherwise invisible deafness. Although some deaf people used hearing aids openly and proudly, and constantly attempted to convince others that using them was nothing to be ashamed of, others wanted to hide these stigmatizing devices. Therefore, they were equally (or even more) concerned with their visibility than with their performance when buying these devices. For this reason, manufacturers tried to design instruments to meet the needs of their customers. This article investigates two design strategies that were used by ear trumpet producers to maneuver between the troubling visibility of these instruments and their performance: the first is hypervisibility—designing hearing aids as luxurious objects of conspicuous consumption; the second is invisibility, which was achieved with miniaturization and camouflage. Both these aesthetic strategies are considered in the context of Victorian technophilia and regimes of the body. As hearing aids became more accessible to the middle class, design patterns spread beyond elite consumption. [ABSTRACT FROM AUTHOR]

Students enrolled in the History of Graphic Design class at a state university in the mid-southern region of the United States in 2021 completed one semester-long project that first chronologically placed work from an existing canon, then recognized inherent problems with its construction. Next, this project became a gateway to advocacy, empowering students to challenge and correct the canon by identifying and explaining at least one designer from a population underrepresented in said canon. Counsel and clear directions from the professor within a multistep process guided objective academic research from scholarly sources. Feedback from students a year later provided further insight into how the project met learning goals. This project equipped students who desired to challenge the status quo after the cultural shifts witnessed in recent years with the rational means to do so. Rather than an empirical study, this article describes this successful project for other design educators to duplicate. One can apply this project to almost any art/design canon and the bias inherent in its subjective categorization. [ABSTRACT FROM AUTHOR]

The appreciation or reception of materials can create a positive or a negative reaction in the user and an individual’s understanding of materials comes from their own experiential knowledge, influence of others, and cultural perception. The condemnation of the overuse of plastics materials and their impact on the environment when they become waste has, understandably, meant that today the cultural perception of plastics is largely that they are cheap, rubbish, throw away—all bad news. This position of negativity has been reached because we currently see the mismanagement of plastics waste as it blows about in the wind; we see it as rubbish in our streets, and as detritus in the oceans. However, our relationships with the material family, over the time they have existed, have had a varied and turbulent history with different perspectives generated by different people at different times. This article will briefly explore ‘a’, rather than ‘the’, history of the use of plastics with the aim of putting the current societal relationship with them into context.

Industrial design has been the main direction for the Chinese nation building since 1949, and is the centre of the modernization process of Chinese design history. In order to corroborate the timeline of Chinese modern design history and to reveal the real modernity of design history, this paper provides a perspective from physical evidence to corroborate the modern period of Chinese design history and to clarify the design works that can represent Chinese modern design. Based on this, 27 pieces of modern Chinese design works from the China Industrial Design Museum are selected as the corroborating objects for the case study, and the factors influencing the difference between Chinese and Western modernity are analyzed accordingly. The study concludes that Chinese industrial design from 1949 to 1979 can, to a certain extent, represents the historical direction of Chinese modern design history, and that the Chinese modern design style reflects the national characteristics of developing Asian countries. In addition, the context in which the modernity is located reflects a special modernity different from that of the Western world.

The year 1853 marks a landmark in the history of Japanese art exhibitions within Britain and Ireland, being the year when the first clearly identified exhibition of Japanese items was displayed in an international exhibition in the British Isles. The Great Industrial Exhibition, Dublin, 1853, is of importance because the Japanese exhibition loaned from a Dutch collection illustrates the Dutch playing a significant role in the introduction of Japanese works of arts and industry into Britain and Ireland. This study explores the means by which the 1853 Japanese exhibition was assembled and questions why it was never given the "credit of priority" during the 1870s, at a time when discussions on this issue focused on the Japanese displays in the International Exhibition, London, 1862, and the Exposition Universelle, Paris 1867. In relation to these discussions, two texts from the 1870s, R. Alcock, Art and Art Industries in Japan 1 and G. A. Audsley and J. L. Bowes, Keramic Art of Japan 2 have been singled out for discussion. [ABSTRACT FROM AUTHOR]

Copyright of Arcos: Design, Cultura e Visualidade is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) 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 Arcos: Design, Cultura e Visualidade is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) 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 Journal of the Japan Society of Design is the property of Japan Society of Design 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.)

Decolonial approaches foreground the necessity for design historians to rethink their methodologies and terms of debate to recognize the impact of colonial legacies. Only then is it possible to make changes toward social and cognitive justice. This piece explores new models for working collectively with history and memory across oral registers to include the colloquial and moments of pause, of taking breath. In mid-2020, four design historians teamed up to develop experimental, multimedia methods of working to explore new critical design histories. By using "otherwise" methods to look, listen, and read closely, this piece foregrounds the making of space for new interpretations of thinking and writing. The tensions between memories, stories, and histories are interpreted and challenged using concepts such as breath, voice, palimpsest, circle and rhythm. Exploring translation, opacity, embodiment, positionality, and nonlinearity emerged as crucial to questioning the terms under which design history can be transformed. [ABSTRACT FROM AUTHOR]

At first glance, relating philosophy and design does not seem trivial, but there are several elements that make it possible to develop such a hypothesis beyond the context of the philosophy of technology. In this article, the main objective is to explore some aspects of design in the world and in Brazil, emphasizing how much its bases dialogue with the principles of Gadamer's philosophical hermeneutics. To do so, in the first section, I develop a bibliographical analysis of the history of design, exposing its roots in art and architecture, as well as the passage from affirmative design to the philosophy of design. In the second section, I discuss some studies on design and philosophy in order to support the formation of critical-speculative design from contemporary art, and later, to address the main hypothesis of the study, that is, that there is a very interesting gain in relating studies of Gadamerian hermeneutics in what I call philosophical-hermeneutical design, which allows thinking about the history, identity and ontological preconceptions of design and expand horizons of philosophical hermeneutics. [ABSTRACT FROM AUTHOR]

The end of World War Two found diplomats and politicians negotiating architectures of global governance and the future world order. During those initial conversations, tables emerged as the quintessential object of liberal internationalism. Diplomats understood the politics of seating and how tables silently installed hierarchies, entangling their shape and form with discussions on emerging cultures of assembly and the possible organisation of the UN's public spheres. Who gets a seat at the table? Does the table have a head? How close or far away should the delegates sit? Who sits next to whom? These were all questions running through the delegates' minds each time a new committee deployed itself around desks. Architects and designers were called in to design diplomatic encounters within the UN Headquarters. The goal was to humanise what aspired to become the machine of international relationships while architecturally articulating an even bigger bureaucratic organisation that would bring order and peace against the chaos, fear, and paranoia that the war generated. This essay will examine the emergence of the circular table as a tool and a technique of multilateralism, ultimately interrogating the role that design and architecture played in shaping global governance. [ABSTRACT FROM AUTHOR]

The future of Human-computer interaction (HCI) communication requires researchers to develop a strong understanding of the factors that influence design practitioners. As a step towards building that understanding, based on interviews conducted with veteran web designers, we analyze a corpus of popular web design books published during and shortly after the dot-com boom. Using a combination of ethnographic methods and discourse analysis, we identify the rhetorical strategies in these books and why they were successful in shaping our participants’ ideas about web design. We find that the books exhibit a particular style of technical writing defined by a speech-like techno-masculinity. Despite their short shelf-lives, the books and their writing style contributed to the disciplinary identity of web design which exists today. Studying the history of best practice books is an important opportunity to reflect on the genre of best practices in design, and how we should frame them in the future. [ABSTRACT FROM AUTHOR]

This paper focuses on the history of Turkey's efforts to establish a national automotive industry, which culminated in a state-driven project to build a Turkish automobile, the Devrim (Revolution), in 1961. The outcome of the project was three prototypes unveiled in Republic Day ceremonies, but quickly left in oblivion afterwards. This paper investigates the possible causes of the termination of the project, arguing that building a Turkish car had great symbolic significance for the identity of a nation in the quest for modernization and Westernization. The project was difficult to sustain considering the vexed political and ideological motivations invested in it. [ABSTRACT FROM AUTHOR]

This article is the product of a research project about the role of image in the creation of the Colombian nation during the nineteenth century. Part of that image depended on the individuals it identified, their social status, their lifestyle, and their occupation. The image of fashion as a characteristic social identifier, as an icon, was a bearer of anthropographic symbols. In nineteenth-century Colombia, those symbols were connected to a republican identity characterized by its colonial heritage, determined by race, and by garments distinctive of specific social classes: formerly subjects and, later, citizens. Thus, the image that fashion conveyed as the "skin of the skin" of the republican ancestors, the elite, and the people constitutes a legacy that encompasses everything, from the manufacture of textiles and the indigenous ruana, to a kind of textile mestizaje with aspects of European provenance. Items from collections in museums, libraries, and archives, were compared to texts composed by travelers and illustrators, in order to unveil elements of national identity in what emerges as the landscape of fashion in Colombia during the nineteenth century. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Buletinul AGIR is the property of Asociatia Generala a Inginerilor din Romania 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 Grafica: Journal of Graphic Design / Documents de Disseny Gràfic is the property of Universitat Autonoma de Barcelona 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 Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo 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 article examines the connecting lines between the Chilean Project Cybersyn's interface design, the German Hochschule für Gestaltung Ulm and its cybernetically inspired approaches towards information design, and later developments in interaction design and the emerging field of Human–Computer Interaction in the USA. In particular, it first examines how early works of designers Tomàs Maldonado and Gui Bonsiepe on operative communication, that is, language-independent (and thus internationalizable) pictogram systems and visual grammars for computational systems, were intertwined with attempts to ground industrial design in a scientific methodology, to address an era of computing machines, and to develop the concept of the interface as a heuristic for a renovated design thinking. It thereby also reconstructs further historical vanishing lines—e.g. the pictorial grammar of Otto Neurath's ISOTYPE—of the development of the 'ulm model' of design. Second, the article explores how an apprehension of first-order cybernetics in West Germany—e.g. represented by hfg ulm staff like Max Bense or Abraham Moles, merged with Cybersyn's second-order cybernetics ideas, as represented by Stafford Beer's Viable System Model. And third, it asks about a further conceptual turn regarding an understanding of design which resulted in a focus on communicative interaction, e.g. in the later works of Fernando Flores and Terry Winograd on HCI, or in Beer's Team Syntegrity approach. As an effect, the text will explore a specific and international network of cybernetic thinking between Latin America, Europe, and North America which emerged around Project Cybersyn, and which was occupied with questions of HCI, a democratization of design, and intelligence amplification. [ABSTRACT FROM AUTHOR]

An essay about the American designer Willi Smith and his brand Williwear, focusing on the experience of curating the first ever exhibition of his work at Cooper Hewitt, Smithsonian Design Museum and the particular problems of archives in the case of streetwear designer of his generation. [ABSTRACT FROM AUTHOR]