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PARADOXES AND PROBLEMS OF DESIGN MANAGEMENT

PARADOKSY I PROBLEMY DESIGN MANAGEMENT

Author(s): Maciej Brzozowski / Language(s): Polish / Issue: 2/2016

Keywords: Design management;design;industrial design;organizational design; design thinking;

This research examines design management as an approach towards enterprise management. The aim of the paper is to identify and to analyze the most important paradoxes and problems associated with the development process of design management. To achieve the objective, the exploration of the scientific literature of the field of management science and other disciplines (specifically design) has been conducted, and then the identification, classification and explication of studied phenomena have been completed. The following issues have been classified as the most important paradoxes and problems of design management: 1) multidimensional structure of design, 2) the evolution in research on design management, 3) contradictory nature of design management, and 4) the use of diverse theoretical backgrounds to analyze design management.

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Design as a source of suffering

Design jako źródło cierpień

Author(s): Adam Trwoga / Language(s): Polish / Issue: 01/2017

Keywords: film;animated film;design;art;modernism;modernity;Torill Kove;childhood;family;bicycle;furniture;chair;Scandinavia;Norway;Denmark;Adam Trwoga

The article discusses the criticism of modernist design contained into Torill Kove’s autobiographical film Me and My Moulton (Canada/Norway 2014), which takes place in the provincial Norwegian town of Hamar in 1965. The director’s parents were architects with very specific, “modern” tastes, and the interior design of the flats of the film’s protagonists looks akin to an exhibition of Scandinavian design. In addition to the Moulton bicycle (a UK designer folding model) mentioned in the title, a symbol of the mismatch between the parents’ aesthetics and their children is Arne Jacobsen’s famous Ant three-legged chair, from which their little girls are constantly falling during meals.

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ROMANIAN DESIGN IN CULTURAL CONTEXT

ROMANIAN DESIGN IN CULTURAL CONTEXT

Author(s): Iosif Mihailo / Language(s): English / Issue: 1/2017

Keywords: design; Romanian design; design theory; object; unique; work of art; man-made object; cultural design; art; craft; Romanian designers;

This study is intended to conduct a theoretical research ofRomanian design domain, relating to a wider context, that is art theory,and subsequently resorting to fundamental references. It relates to thestatus of the objects that are unique concerning the way they claim tobe essentially artworks. Throughout this article the concern fordefining a universe of objects is obvious, treated within the frameworkof object's existential conditions. From this point of view, thepreliminaries supporting its justification relate to Heidegger'sphilosophical concepts, also regarding the functionalist paradigm andultimately some references are made to symbolism and artisticexpression. As a natural continuity, the current state of modernproduced objects is associated with the development of thecontemporary society. In this stage, the design is treated separately intodistinct branches, outlining the particular situation of Romanian designthrough specific data and relevant examples.

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Hygienic and Ergonomic Design Aspects of Production Systems

Hygienic and Ergonomic Design Aspects of Production Systems

Author(s): Gulnur A. Sulkarneva,Larisa B. Khairullina,Elena V. Bulgakova / Language(s): English / Issue: Sup. 1/2018

Keywords: design; production system; hygienic requirements; ergonomic principles; integration of disciplines; graduate design activities; model-layout method;

The content of the teaching and methodological complexes of the disciplines "Noxology", "Industrial sanitation and occupational health", "Fundamentals of ergonomics" and their opportunities for ensuring the professional project activity of the graduate in the training direction 20.03.01 - Technosphere safety (bachelor's level) are analyzed. A model-layout method for designing the location of production facilities providing hygienic and ergonomic requirements, as well as working conditions necessary to preserve the health of workers, and protection of the environment from the impact of man-made factors is proposed. The developed model-layout of the situational plan of the area for the design of the location of production facilities is recommended for gradual use when studying the mentioned disciplines. The proposed ergonomic algorithm for designing production systems allows students to independently develop recommendations for optimizing working conditions at the workplace.

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Business design as a modern direction of design activities and the second form of design

Бізнес-дизайн як сучасний напрям дизайн-діяльності та друга форма дизайну

Author(s): Volodymyr Sʹomkin / Language(s): Ukrainian / Issue: 4/2010

Keywords: design; business; second form; direction of design activities;

The preconditions were reviewed. Formation and prospects of business design as a modern direction of design activities are grounded. And also the new name of the second form of design, business design instead of the previous design, is put into practice.

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Peculiarities of Costume Design Based on the Ethnic Culture within Teaching Design Students

Peculiarities of Costume Design Based on the Ethnic Culture within Teaching Design Students

Author(s): Victoria MALTSEVA / Language(s): English / Issue: Special/2018

Keywords: design; designing; ethnic culture; associative thinking; brief sketch;

Preservation of ethnic identity of a person in a multicultural world today is a relevant problem. Finding a solution to this problem by means of costume design based on ethnic culture is the objective of our research. In order to accomplish this objective, the following tasks wereset and addressed: proving the efficiency of costume design projects based on ethnic culture;development of associative thinking of design students through comprehension of spiritual and moral values of the ethnic culture; testing of the method of costume designing based on the ethnic culture material. The research was carried out with reliance on scientific-technical, artistic-figurative,systematic and regional approaches. Research results were laid out in the form of research reports and design projects.

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Design as Innovation

Design jako narzędzie innowacji

Author(s): Agnieszka Wicher-Baluta / Language(s): Polish / Issue: 4/2013

Keywords: design; innovations; design management; radical innovation; co-creation

Innovations make it possible to accelerate economic growth and overtaking in global competition, they are a cornerstone in building a competitive advantage. We can say that innovative solutions to decide nowadays about the visibility and success of your business. The main thesis concerning the article says that the design is a tool of innovation. Under this role, design can be a primary determinant of innovative strategy development, it may be at the center of a comprehensive vision of the objectives, asses available resources and possibilities for their use or can be the basis of specific methods and sequence of actions to achieve progress and solve key problems of the company. Against this background, a crucial questions arises, how to generate innovative solutions based on design? The purpose of this paper is to present two innovative methodologies in the area of design management: radical innovation and co-creation and present their implications for innovations.

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DESIGN ECOLOGIC. DESIGN ECOLOGIC-POLUEZ, DECI EXIST

DESIGN ECOLOGIC. DESIGN ECOLOGIC-POLUEZ, DECI EXIST

Author(s): Diana Andreescu / Language(s): Romanian / Issue: 2/2018

Keywords: design; ecologie; marketing; reciclar;

Ecodesignul poate fi privit ca rezultatul unei diversități de procese și practici ce combină obiective utilitare și economice cu responsabilități etice, culturale și de mediu. "Ecodesignul reprezintă designul produselor prin aplicarea unor criterii ecologice care au drept scop prevenirea pierderilor și a emisiilor poluante, alături de minimizarea impactului asupra mediului și a duratei de viață a materialelor." (Van Weenan, 1995) "Ecodesignul reprezintă designul produselor prin aplicarea unor criterii ecologice care au drept scop prevenirea pierderilor și a emisiilor poluante, alături de minimizarea impactului asupra mediului și a duratei de viață a materialelor." (Van Weenan, 1995) Cuvinte

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URBANIZATION IN DESIGN

УРБАНІЗАЦІЯ В ДИЗАЙНІ

Author(s): Yevhen Hula / Language(s): Ukrainian / Issue: 33/2018

Keywords: design; industrial design; design art; what design; urbanization; urbanistic; city; urban environment; city space; town planning;

Purpose of the article is to research the general role of urbanization, and urbanistic in development of design is conducted. The methodology of research consists in the application of comparative, historical and logical methods. The specified methodological approach allows to open and subject to the analysis of specific models of a ratio of urbanization and design. The scientific novelty of work consists in the expansion of ideas of evolution of design in his ratio with urbanization. The place of design in the urbanized world of XXI century is revealed. Determination of design during an era of postmodernism and dynamic urbanization is offered. The value of design of the urban environment is considered.

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Concepts of mobility in design

Concepte ale mobilității în design

Author(s): Sergiu Mihai Zegrean / Language(s): Romanian / Issue: 5/2017

Keywords: design; space; mobility; ambient;

This article takes a look at the space in different contexts, exploring more closely the concept of mobility of home and space. At the base of human evolution, space, and later the environment, shows mans survival and his feeling of belonging. The concept of mobility is proving to be of an exceptional variety, remarkable since the early times of mankind to the context of modern design.

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The premises for the appearance of design

Premisele apariției designului

Author(s): Diana Ornella Andreescu / Language(s): Romanian / Issue: 4/2016

Keywords: design; advent; theorization; Diana Andreescu; design theory;

One of the most important features of the human is to give according to his needs, meanings living environment, reporting on everything preferentially incorporated therein. Selections, rankings, preferences granted objects, phenomena, human behavior, human creations or ideal material, as far as they meet at a time or in general the needs, desires and ideals, ends in what we call values. Aesthetic values, concentrated around the beautiful, express those traits of the human universe and takes on their specific structure through a harmonious, colorful and expressive corresponding human needs harmony, color, expression. They are, therefore, human meanings, aesthetic dimensions of things, phenomena, ideals, etc. The aesthetic value is the result of merging the concrete with significant generality, manifesting itself as a “semblance of sense” as an individual charged with abstract notes.

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Design Practices and Aesthetic Experience

Praktyki designu a doświadczenie estetyczne

Author(s): Alicja Głutkowska-Polniak / Language(s): Polish / Issue: 9/2020

Keywords: design; aesthetic experience; aesthetization; environment

The study of design practices in aesthetic terms (aesthetization and aesthetic experience) may appear, seemingly, trivial and irrelevant. However, the human environment today is in such a fundamental transition that failure to take account of this aspect is unfounded. The aim of design is primarily to produce artefacts, to transform them into a natural environment, but also, perhaps even above all, to maintain a balanced relationship between the ecosphere and the “arti cial” human world, created and orchestrated for him. It is not just about designing an object, a system, an interaction or relationship that guarantees simplicity and e ciency, that is, a de ned utility, but a deeper re ection on how a particular person experiences it and what the consequences this experience brings. Therefore, the purpose of design in this article will be expanded to include an aesthetic aspect, because isolation from the aesthetic criterion (regardless of how we understand it) in contemporary design practices seems to be di cult to maintain.

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CUSTOMER EXPERIENCE DESIGN

ПРОЕКТИРАНЕ НА КЛИЕНТСКИ ПРЕЖИВЯВАНИЯ

Author(s): Pavlina Vodenova / Language(s): English,Bulgarian / Issue: 3/2020

Keywords: design; customer experience; business opportunity

Until recently, businesses could only rely on the quality of their products to introduce new products, services or innovations of various kinds. The success was only the result of the companies' focus on providing reliable and highly functional products / services on the market.This is no longer the case today. Most of the big brands have become marketing machines, competing with the rest - direct competitors, instead of focusing on consumer experiences, in the context of the design of their products and services. Product differentiation is becoming a trivial trick and today is no longer seen as a success factor in big business.The design of customer experiences is aimed at injecting purpose and empathy for everything related to the use of the product or service.Many startups, which in the recent past were just start-ups, now manage billions, thanks to the fact that they have focused on the customer experience both in the design of their products / services and in the business model, instead of marketing and strategy. for sales.Focusing on designing customer experiences gives businesses the opportunity to differentiate in a more meaningful way. It is even predicted that customer experiences will exceed the price and the product as key differentiators of the brand by 2022.Customer experience design is the practice of designing products / services with a focus on quality and attention to the user experience. Each point of contact within the customer's interaction with the product / service is designed to deliver experiences based on the promise of the brand. It requires companies to intertwine storylines through online and offline experiences that enliven the brand.Designing customer experiences is an effective way to increase the company's base, with the customer first and foremost. If customers are satisfied with the product / service, as well as with their experience in purchasing, they will become loyal defenders of the brand and will contribute to expanding the company's market share.This is the undisputed advantage of user experience design - customers are the key to success. Adopting practices that enhance the customer experience will undoubtedly lead to a return on investment and provide a solid foundation on which the brand can continue to grow.

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Design as an element of the service company’s strategy

Design as an element of the service company’s strategy

Author(s): Monika Tomczyk,Monika Spychalska-Wojtkiewicz / Language(s): English / Issue: 4/2/2018

Keywords: design; design management; service enterprises; innovation; SME sector

As the research conducted by Design Council in UK shows for every £ 1 invested in design, businesses can expect over £ 20 in increased revenues (Design Council, 2018). This article raises the question whether it is justified to include design in a service company’s strategy, and companies’ readiness to treat design as a key element of their strategy. The goal of the article is to describe the external and internal conditions that must exist for service companies to incorporate design into their strategies and use it as a generator of value for them. To verify the above issues the desk research analysis and answers from experts gathered during individual in depth interviews has been used. In the course of conducting interviews, it could be noted that despite the fact that experts come from different countries, as well as worked for various entities, they have very convergent views on the entities problems in the implementation of design, as well as on creative innovation management. Experts also had similar guidance for these organizations.

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Sustainable design. Design approaches and directions of development

Sustainable design. Проектні підходи і напрямки розвитку

Author(s): Natalia Sergeevna Vergunova / Language(s): Ukrainian / Issue: 38/2020

Keywords: design; sustainable design; artistic solution; shaping; recycling; upcycling;

The purpose of the article covers the question of «Sustainable design», its design approaches, and possible directions of development. The results can be used to clarify the theoretical basis of environmentally conscious design and improve the corresponding algorithms in the design process. The methodology centers on applying f historical-comparative and chronological methods, as well as the method of terminological analysis, which helped to identify and consider terminological interpretations of recycling and upcycling as design approaches, and other terms related to the concept of environmentally conscious design. The scientific novelty of the study is to broaden the understanding of complex consideration of design at the present stage in the context of theoretical and methodological concepts with an environmental component, in particular with environmentally conscious design. Conclusions. The concept of «Sustainable design», covered in this article, as an environmentally conscious design, has a sufficient theoretical study. The practical significance can be represented in the form of two main design approaches, operating with the secondary use («re-use») of both raw materials (recycling) and the product itself (upcycling) in order to create a new consumer object. Possible directions for the development of Sustainable design cover professional communities of designers, associations of companies and organizations, state programs, but the most relevant are environmentally-oriented, educational programs for the training of qualified people in the field of design. These specialists will operate with optimal approaches for the development of facilities with environmental value, as well as improve them, identifying the most appropriate design solutions. The design results of these specialists will also contribute to the formation of public awareness regarding the «culture of behavior» with household waste and the rational use of resources.

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In defense of Forsey’s Aesthetics of Design

In defense of Forsey’s Aesthetics of Design

Author(s): Monika Favara-Kurkowski / Language(s): English / Issue: 1/2021

Keywords: design; aesthetics; function; beauty; aesthetic appreciation;

In philosophical aesthetics, discussions on design objects place the notion of Functional Beauty at the fore. Such a philosophical approach can be found in Jane Forsey’s book The Aesthetics of Design that focuses on the notion of function to promote the aesthetic value of design and develops an interpretation of Kantian Dependent Beauty around it. Lucía Jiménez Sánchez has recently put forward several flaws of Functional Beauty accounts. She presented several practical cases as evidence for the narrowness of Functional Beauty accounts. Two cases are presented against Jane Forsey’s theory of Dependent Beauty, holding that it excludes other properties from appreciation that are not necessarily related to functionality, i.e., expressive properties. The purpose of this article is to show that these criticisms leveled at Jane Forsey’s proposal for an aesthetic theory of design are unfounded and are based on a misunderstanding of the structure of judgments of beauty in her system. Despite this, these criticisms highlight the need to clarify the purpose of the aesthetics of design.

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DESIGN AND PLASTIC ARTS

DESIGN ȘI ARTE PLASTICE

Author(s): Liliana Platon / Language(s): Romanian / Issue: 4(41)/2021

Keywords: design; plastic arts; painting; composition; ergonomics; space; shape; color; ligh;

This work proposes a comparative study between the field of design and plastic arts. The study highlights the most important principles of plastic and semantic realization used in both fields, therefore following the exposure of common tangents in image creation. In this process, the most responsible and important issue addressed in both cases is identified - aesthetic formulation. The basic criteria in the harmonious realization of the artistic image are identified, taking into account some legalities and norms of aesthetic beauty. Thereby, it is found that, through the chain of aesthetic value, the issue of study and practical realization of design and plastic arts, is synchronized and associated in a common goal focused on the benefit of human sensory perception.

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Creative Olomouc DESIGN 2 / Kreativní Olomouc DESIGN 2

Kreativní Olomouc DESIGN 2 / Creative Olomouc DESIGN 2

Author(s): / Language(s): English,Czech

Keywords: design; creative industry; local production; Olomouc;

The second of the DESIGN catalogue series with the subtitle Creative Olomouc, through which it intends to adequately promote the elite actors of the creative industries operating in the Olomouc Region. The catalogue offers texts in both Czech and English. It is an explicit support for talented artists, companies and entrepreneurs and an incentive towards the public to take into account high quality local production with high added value and to take notice of elite creatives operating in Olomouc and its surroundings who deserve more consistent recognition. The content of the edition draws on the online database of creative entities Kreativní Olomouc, which brings together hundreds of creatives, companies and institutions for the needs of the professional public, local government, as well as the general public demanding products and services from local producers.

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Contemporary Latvian Design in Symbiosis with Local Handicraft Tradition

Contemporary Latvian Design in Symbiosis with Local Handicraft Tradition

Author(s): Inese Sirica / Language(s): English / Issue: 2/2021

Keywords: design; Latvian; ethnic identity; craft; heritage; museum

The contemporary musealization of Latvian design objects or the inclusion of high-quality examples in the Latvian National Museum Holdings began in 2005. Established three years later in 2008, the Latvian Design of the Year Award has since then attracted attention to this field, prompting further theoretical discourse. The publicly available narrative on 21st century Latvian design often points out the strong influence of local crafts and ethnic cultural heritage. An important impetus in contemporary, ethnically conscious design is the culture of the Song and Dance Celebration, within which the outfits of festival participants are created. This article identifies the application of traditional Latvian crafts in the works of Latvian artists and designers, visualizing the ideas and forms of ethnic identity. The analysis focuses on the general context of Latvian design: institutions supported by the Ministry of Culture, the Latvian Design of the Year Award and FOLD, the digital magazine of creative industries. Sources used include opinion articles and the public messages of companies. To facilitate theoretical understanding of the topic, it was important to take into account the theory of national identity and the museum narrative as well as the history of European design, especially at the turn of the 20th/21st centuries. It should be noted that the history of applied art and design in Latvia during the 20th century is still in the research stage. A historical insight into the construction of the Latvian traditional craft narrative, which began at the end of the 19th century, is also provided so as to promote greater comprehension of Latvian design. Essentially, it is a narrative of national identity, deliberately constructed through the craft practices, raw materials and compositional techniques characteristic of peasant culture.

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Vector ornamentation in design

Vector ornamentation in design

Author(s): Ștefana-Roxana Stoica / Language(s): English / Issue: 1/2023

Keywords: design; vector; ornamentation; pattern; composition;

Vector ornamentation in design refers to creating decorative elements, independent, secondary, tertiary or connecting motifs, forming patterns, ornamental borders, quadrants or patterns in specialized software. These vector ornaments have applicability in various areas and on different types of materials. Creating vector design also requires knowledge of compositional principles. The versatility of their design and various implementation methods in different fields and applicability on different materials make the subject under research complex.

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