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STANDPOINTS ABOUT THE MANAGEMENT OF PRODUCTS DESIGN

STANDPOINTS ABOUT THE MANAGEMENT OF PRODUCTS DESIGN

Author(s): Gica Cruceru / Language(s): English / Issue: 09 (1)/2009

Keywords: products; form design; project management

In this paper the engineering design process is defined and the Product Design Specification is detailed. Subjects covered include form design, design for manufacture and assembly, materials and process for powder products selection. In general the simplest solution is the best and all professional engineers seek elegant and simple solutions. Design is not solely the achieving of technical solutions but also creating useful products which satisfy and appeal to their users. So along with the engineering science knowledge used the importance of communication, teamwork an project management cannot be underestimated.

ABOUT THE MARKETING - DESIGN RELATIONSHIP

ABOUT THE MARKETING - DESIGN RELATIONSHIP

Author(s): Claudiu Emil Ionescu,Gh.Gh. Ionescu / Language(s): English / Issue: 1/2005

In our paper, design is considered briefly in different contexts – product and manufacture, service and retail – and for different purposes: product design and corporate communications. Links with marketing are made, essentially by examining how design affects elements of the marketing mix. Finally, evidence is presented to support the argument that design makes a positive contribution to business performance. In other words, design investment affects the bottom line, but only if design is integrated into the business process and managed well. Our paper concludes with a general model of design management. This model is not intended to be prescriptive but to provide a checklist of the range of activities and information that is required to manage design effectively.

Peculiarities Developing Teachers' Preferences for the Goals of the Design Course

Mokytojų teikiamų preferencijų dizaino dalyko tikslams ypatumai

Author(s): Gedutė Grigaliūnaitė / Language(s): Lithuanian / Issue: 72/2004

Keywords: design; course; teacher; developing

The article deals with the significance of the goals, objectives and tasks of the design course in educational process. Preferences, demonstrated by teachers of art, design and technologies to the goals, objectives and tasks of the design course, the assessment of their significance and perspectives for further development of the course as well as possible links with the current social, cultural and philosophical tendencies are analysed. In the 2003 curriculum of the secondary comprehensive school the course in art includes the fine and applied arts, architecture, folk art, design, contemporary visual art and art criticism. The design subject did not exist in the curriculum of 1997 and 1998. Being closely related to technical, scientific and artistic training the subject of design as a specific sphere of activity has not yet been sufficiently analysed and disclosed in the context of artistic education and thus has become an urgent educational problem designing the content of education. Having analysed the goals, objectives and tasks of the design subject as well as teachers' preferences in this respect the following conclusions have been made: • The goals, objectives and tasks of the design subject reflect the main goals of artistic education and create conditions to educate uie personality as an active perceiver and consumer of art and environment; • Preferences demonstrated by teachers of art (design, art, technologies) with regard to the goals, objectives and tasks of the design subject reflect the main competences in art and aesthetics, creative, spiritual and physical abilities without stressing the contribution of cognitive theoretical knowledge into those processes what allows to concentrate on the development of theoretical knowledge possessed by teachers; • Artistic education by the design subject is one of the ways to perceive the significance of visuality stressed by post-modernism and educate abilities of aesthetic perception relying on the environment of objects; • It is possible to completely reveal fullness and spirituality of human nature relying on the subject of design, which includes the perception of the environment of objects, art and culture and cognitive and sensual processes.

Design in the Context of Aesthetics. Its Origins, Transformations and Connotations

Dizajn w kontekście estetyki. Jego początki, przeobrażenia i konotacje

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

Keywords: design; aesthetic; contemporaneity; culture; art; lifestyle

The term “design”, commonly used today, however ambiguous and multidimensional, cannot be denied cognitive usefulness. Generally understood, design refersto contemporaneity, revealing the dependencies between production, consumption and culture. As a distinguished type of activities and practices, realizing the values of social aesthetic awareness, it is vibrant in today’s world.This book aims at showing the category of design in a broad cultural context, with a focus on the evolution of this notion in the 20th century. An analysis of this phenomenon, rich in multifarious connotations, begins in Europe at the approach of the 20th century, when this discipline, in a way, emerged from the sphere of artistic activity (Bauhaus, De Stijl), and ends in contemporary times. The road leads through issues strictly connected with the development of technology and aesthetics, but exclusively within the aspect of human life and functioning. In fact, design has always been connected with man as a subject (author and recipient) and anobject that the latter has in use. As such, it carries in itself a great wealth of diverse ideologies and socio-cultural values, which it reflects in connection with human life. In this sense, design is also a reflection of a way of this life, particularly in the times of aesthetization of reality.Design, as a close connection between art, technology and life eludes all definitions; it cannot be be unambiguously boiled down to any specific esthetic theories either. Referring to Peter Bürger, it can be assumed that design is art which became so immersed in life practice, that, having lost distance to the latter, it ceased to function stricte as art and became a new area of quest and experiments. Therefore, aesthetics implicite, as seen by Władysław Tatarkiewicz, tranferred into the sphere of design: drawing from the designers’ practices, contained in items/objects/utilitarian products, in critical thought and tastes and fads of a given period, seems to be the most optimal form of an aesthetic analysis of this phenomenon. Such an analysis is a priority of this work, whereas the chronological aspect helps connect design to the (aesthetic) functioning of man starting from from modernist beginnings of the 20th century throughout postwar changes and postmodernist aesthetic relaxing.

COURSE DESIGN FOR MEDICAL ENGLISH

COURSE DESIGN FOR MEDICAL ENGLISH

Author(s): Elena Bran / Language(s): English / Issue: 2/2017

Keywords: ESP; COURSE DESIGN; NEEDS ANALYSIS; DIAGNOSTIC TESTING

DESIGNING A COURSE FOR ESP (ENGLISH FOR SPECIFIC PURPOSES) HAS ALWAYS BEEN A CHALLENGE FOR THE TEACHERS AS ALL STUDENTS HAVE DIFFERENT NEEDS. THE AIM OF THIS ARTICLE IS TO PRESENT SOME OF THE MOST COMMON ISSUES WE ENCOUNTER WHEN CREATING A COURSE FOR THE MEDICAL SYSTEM AND SOME OF THE SOLUTIONS WE HAVE CONSIDERED WHEN DEALING WITH THEM. FURTHERMORE, WE HAVE UNDERGONE A NEEDS ANALYSIS AND DIAGNOSTIC TESTING WORK ON A SAMPLE OF STUDENTS IN ORDER TO OPTIMIZE THE COURSE PLAN AND TO ADAPT ALL THE MATERIALS ACCORDING TO THEIR EXPRESSED NEEDS. THE ARTICLE SUMS-UP SOME OF THE DATA OBTAINED AND REPRESENTS THE FIRST STEP IN CREATING NEW AND MODERN MATERIALS.

Performativity – Stage Design – Avantgard

Performativity – Stage Design – Avantgard

Author(s): Magdolna Jákfalvi / Language(s): English / Issue: 23/2012

Keywords: Avantgard; postdramatic theatre; Tristan Tzara; physical theatre; performative techniques;

In the dramatic texts of the classical (French) avant-garde there are more performative than semantically analysable characteristics. The texts of Albert-Birot, Ribemont-Dessaignes, Picasso and above all Tzara, became parts of the literary canon in their written forms, but the complete afterlife of their dramatic structures is becoming visible with the rise of postdramatic theatre. My analysis searches for the tools, provided by theatrical and literary history, that allows us to follow the dramatic interpretations of classical (French) avant-garde theatrical texts through their almost century-old history. The analysis involves the audience necessary to accept these texts, and the theatrical form languages and on-stage contexts capable of transforming these texts, devoid of meaning and a system of rules, into artistic achievement through the presence of performativity. The research is based on Tzara’s theatrical texts, cabaret scenes, performances, especially their 1916 and contemporary representations, but without disregarding the contemporary performative techniques, theatrical spaces and dramatic utterances, or the contrast between the readers‘ expectations and understanding then and now.

THE DESIGN OF TRANSCENDENCE IN ROMANIAN PHILOSOPHY

THE DESIGN OF TRANSCENDENCE IN ROMANIAN PHILOSOPHY

Author(s): Mihai D. Vasile / Language(s): English / Issue: 1/2017

Keywords: God; Immanuel Kant’s metaphysics; transcendence; soul’s immortality; The Great Anonymous; The Universal of Romanian Soul;

The present paper tries to prove that the transcendence problem finds subtle solutions in Romanian philosophy. As for example, Mircea Florian’s metaphysics construction starts with the fundamental object of the traditional metaphysics research, namely God, acquiring Immanuel Kant’s doctrine about God as regulative ideal of pure reason, in order to reveal its two metaphysical hypostases, i.e. the ontological transcendence and the epistemological transcendence. As collatio, it is brought out to complement Lucian Blaga’s metaphysics insofar as it refers to transcendence (Great Anonymous) and, also, to include Constantin Noica’ s reconsiderations.

THE INTELLIGENCE FLOW DESIGN

THE INTELLIGENCE FLOW DESIGN

Author(s): Victor Boboc / Language(s): English / Issue: 24/2007

Keywords: Intelligence; Design;

The article is trying to present some key aspects related to the way in which the flow of information is seen today within a military intelligence structure. Starting from the Informative Cycle, the article is focusing on a J2 typical functional cycle and is stressing more on the way in which this informational flow could influence the performances of the respective structures. From the research perspective, the article is also focusing upon some new concepts designed in such a manner to allow the informational flow’s optimization and also to improve the structural functionality of the respective J2 structure. Beside the respective algorithms that could be applied in order to improve the informational flow, the article points out how this flow can influence the J2 structure content.

From Isotype to Many Eyes. Social responsibility of design in data visualization

Od Isotype do Many Eyes. Społeczna odpowiedzialność designu w praktykach wizualizacji danych

Author(s): Marcin Składanek / Language(s): Polish / Issue: 1/2020

Keywords: design; socially responsible design; sustainable design; data visualization; infographic; participation environments;

Isotype (1925–1971) and Many Eyes (2007–2015) are two projects that share the intention of using data visualization methods and techniques as a tool for democratizing knowledge, although they differ in a considerable set of features and a large distance of time. The main goal of the creators of Isotype Otto Neurath and Marie Neurath was to overcome cultural divisions and educational stratification with an effective visual method of communicating important social facts, promoting specific values, or showing the rapid social, cultural and economic changes at the beginning of the 20th century. On the other hand, Many Eyes is an open social participation environment (web application) that gives users the ability to share data resources, generate their own visualizations and discuss the procedures for their creation and cognitive effects of their use. The authors of the system are Fernanda B. Viégas, Martin Wattenberg – two researchers and designers who have been consistently exploring the “social life of visualization” for several years. Isotype and Many Eyes – as examples of socially engaged design – are analyzed in this text on two important dimensions: firstly – how the complex conditions of design practice have been integrated (design skills and teams, design procedures and methods, technological and institutional resources); scenarios for the transfer of identified challenges, threats and barriers to a specific solution that responds to the real needs of users; secondly – scenarios for the transfer of identified challenges, threats and barriers to a specific solution that responds to the user needs.

Organisation Design and Adaptability of the Organisation

Organisation Design and Adaptability of the Organisation

Author(s): Vesselina Maximova / Language(s): Bulgarian / Issue: 3/2020

Keywords: organisation design; adaptability; project organisational structure; adhocracy; networks; soft organisational elements; organisations’ agility

The article builds upon the thesis that developing an adaptive organisation is strongly determined by the choice of organisational design. By reviewing design components and their importance for organisational adaptability, we outline the organisational features that design choice is to ensure for adaptability to be achieved. The benefits of using project organisational structure, adhocracy and networks in ensuring adaptability are discussed. Beside the requirements regarding “organisational hardware”, arguments for the significance of softer organisational components are given. Results of our own and others’ empirical studies on the role of soft organisational elements such as managerial philosophy, trust- and loyalty-based relationships with contracting parties and staff and aptitude to continuous innovation in building agility are also reported.

APPROACHES IN DESIGN EDUCATION: THE ROLE OF PATTERNS AND SCENARIOS IN THE DESIGN STUDIO

APPROACHES IN DESIGN EDUCATION: THE ROLE OF PATTERNS AND SCENARIOS IN THE DESIGN STUDIO

Author(s): Hernan Casakin,Arjan van Timmeren,Petra Badke-Schaub / Language(s): English / Issue: 1/2016

Keywords: design thinking; design studio; design education; educational setting; problem solving session; students teamwork;

The studio is the educational setting where architectural students dedicate a large part of their study career working individually and in groups. Supporting students with adequate methods to deal with ill-defined problems in the design studio is a major challenge for design education. Whereas different approaches such as using design patterns and developing scenarios are reported to improve the design activity, they were never investigated in the design studio. An empirical investigation was conducted in order to explore whether and how scenarios and patterns can help students in developing a useful knowledge base and enhance their abilities to solve design problems in the design studio. Students were requested to solve a series of design problems using these educational methods, while working individually and as a team. They were asked to produce as many design ideas as possible, while in the team setting were instructed to think aloud. The data assessed is gathered from surveys, problem solving sessions, and interviews. Thus, qualitative and quantitative analyses had to be done to find out about the different impact of the two methods in design. The results showed that as an educational approach, patterns aided in defining problems and analyzing idea solutions, mainly from a technical and functional perspective. Scenarios, on the other hand, were helpful to generate new ideas, and to enhance design creativity. Independently of the pedagogical method used in the design studio, working in teams showed to be central to enrich and enhance many aspects of the design activity. The findings have important implications for intervention programs in the design studio.

DESIGN FICTION IN DESIGN EDUCATION: A CASE STUDY ON STUDENT PROJECTS

DESIGN FICTION IN DESIGN EDUCATION: A CASE STUDY ON STUDENT PROJECTS

Author(s): Banu İnanç UYAN DUR / Language(s): English / Issue: 82/2021

Keywords: Design fiction; design education; visual communication design; speculative design;

Design fiction is a critical design approach which speculates on possible futures and forms technology-based visions on how future life might be and explains fictional worlds through the designed artefacts. Design fiction opens a free space to question current assumptions, operations, and systems. Design fiction is also used to create alternative worlds by moving away from various constraints, business expectations in particular, and to provide a convenient atmosphere for students to be able to think in a conceptual context, to develop new discourse, and to question their relation with reality. The present article argues that design fiction can be used as an instrument to question the position of design education in providing a labour force to the sector, and to move out of the structure of the design fiction that focuses on now and today. In this scope, the design fiction projects produced in the course of a Visual Communication Design Project will be examined, the methods used and the stages followed will be explained, and opinions will be presented on the possible angles of outcomes for students in design education.

Design of a Traffic Microsimulation in UML

Design of a Traffic Microsimulation in UML

Author(s): Genia Ortis / Language(s): English / Issue: 4/2003

Keywords: UML; Microsimulation; Traffic; Design;

From the programming point of view traffic microsimulations consist of concurrent, interacting processes. Several representations of the same type (i.e. a car) are simulated over time. This structure highly corresponds to the concept of object oriented programming, which is therefore the first choice for the implementation of a traffic microsimulation. However, object oriented software has to be designed througly before the first line of program code is writen. Otherwise, with the expansion of the software and the increase of the number of developers a serious danger of incompatibilities and incorrect model behaviour arises. There exists a standard to describe object oriented models, the Unified Modelling Language UML. It can be used to describe a software from different points of view and therefore facilitates acquaintance and coordination processes and even code generation. In this paper I give an introduction into UML especially for developers of traffic microsimulations.

Ontological Design: A Critical Commitment to a Radically Sustainable Future

Ontologiczny design - krytyczne zaangażowanie na rzecz radykalnie zrównoważonej przyszłości

Author(s): Jakub Barszczewski / Language(s): Polish / Issue: 23/2022

Keywords: design; actor-network theory; emancipation; alterglobalism; anthropocen; Global South

Contemporary reflection on design postulates a radical change in thinking in this regard. In addition to a more conventional critique of the entanglement of design in the logic of profit and the legitimacy of the capitalist organisation of social life, attention is also drawn to the limitations that result from the fact that this activity is rooted in Eurocentric and Cartesian ontology. In analogy to the contemporary debate in the social sciences on the agency of “invisible actors” (including non-human actors, nature, and space), the design theorists described in this text (Anne-Marie Willis, Ezio Manzini, Tony Fry, Cameron Tonkinwise, Madina Tlostanova) look for a different perspective from which to examine the relationship between designers and the worlds they create. Increasingly, emphasis is being placed on the fact that the practice of designing is not just an individual act of creation but can also be interpreted in terms of a distributed agency whose effects have a feedback impact on people and thus produce a basis for innovative social practices. Ecological and postcolonial criticism of design points to the need to adopt an anti-dualistic, anti-anthropocentric, and relationalist approach to reality, as this would allow for an emancipatory reformulation of the existing relationship between the individual, nature, and the community. This type of reflection on design is also an attempt to reinterpret the problem of innovation and development. Thus, design becomes a critical and utopian endeavour to invent a new way of organising society and its relation to non-human actors.

Why People Who Are Not Designers Should Be Taught Design and How

Jak nie-projektantów uczyć projektowania

Author(s): Mariusz Wszołek,Krzysztof Moszczyński,Thomas Lewe / Language(s): Polish / Issue: 23/2022

Keywords: design; design education; history of design; change by design

Currently, the system of design education faces the challenge of redefining the possible scope and ways of educating future designers. The complexity of the world around us, both in the technological and geopolitical dimensions, as well as tasks related to climate protection and public health, pose entirely new challenges to the practice of design. A distinctive voice in regard to criticism of design education is the “Future of Design Education” project, which was strengthened by Donald Norman and Paul A. Kirschner’s famous text titled “The Teaching and Learning of Design.” Norman and Kirschner noticed a fundamental deficit in the education of designers in regard to their compatibility with so-called modernity: its complexity and challenges. In addition, the authors pointed to the lack of an interdisciplinary environment of knowledge, competence, and skills in educating future designers. The “Future of Design Education” initiative is an open forum for the exchange of ideas and experiences in design education – its goal is to try to rethink and redesign design education. The mere appearance of such an initiative allows us to draw two conclusions: (1) the design community has noticed deficits in the education system; (2) the design environment is self-reflective when attempting change through design. Design has changed from being goal-oriented to being criterion-oriented – the object of design is no longer the object but its usability, accessibility, or serviceability. In design, the context of products, services, or communication becomes crucial – contemporary education in the field of design should therefore focus on a holistic approach to design methodology and should supplement education with social, technical, economic, and environmental contexts. The design community’s current discussion on redesigning design education seems crucial. However, it is closed to the external perspective – interdisciplinarity, which is emphasised at every step in the theoretical sense, although it is not commonly used in ongoing discussions. The text addresses an even broader issue: teaching design to non-designers, thinking about design as a superior problem-solving competence and seeing designers as moderators and animators of social change.

Selling the Scandinavian Ethos: Principal Marketing Strategies of Nordic Design Brands

Selling the Scandinavian Ethos: Principal Marketing Strategies of Nordic Design Brands

Author(s): Anna Wiśnicka / Language(s): English / Issue: 23/2022

Keywords: design; promotion; Scandinavian design; Nordic design; marketing; branding

This text presents and analyses the principal marketing strategies used by Danish, Swedish, and Finnish companies and describes the set of marketing messages characteristic of Scandinavian design brands. The most popular strategies involve geo-recognition, with sociolinguistic mechanisms that influence the names of companies and products and the self-description of brands. The contradictory issues of nobilitation and egalitarianism, which have a pivotal role in the advertising of specific products for different groups of recipients, are addressed. Co-branding, including image collaborations between brands operating in different sectors, and mass media influence (the leading tool of advertisement, through films, series, and TV commercials), are other strategies. Connections are established between design promotion and widely recognisable cultural phenomena, such as hygge or lagom. Analysis reveals that the main marketing strategies characteristic of the design brands of the North revolve around a multitude of connections to Scandinavian heritage and culture.

BIOPHILIC DESIGN IN LANDSCAPE ARCHITECTURE AND INTERIOR ARCHITECTURE

БИОФИЛЕН ДИЗАЈН ВО ПЕЈЗАЖНАТА АРХИТЕКТУРА И ВНАТРЕШНАТА АРХИТЕКТУРА

Author(s): Vaska Sandeva,Katerina Despot / Language(s): Macedonian / Issue: 3/2023

Keywords: biophilia;design;landscape architecture;interior architecture

As urbanization accelerates, the demand for sustainable and health-conscious design in the built environment has led to the prominence of biophilic design—a methodology rooted in the deep connection between humans and nature. This paper delves into the complex integration of biophilic design principles in the realm of landscape architecture and interior architecture, in order to elucidate their collective impact on individual well-being, productivity and overall quality of life. Also to elaborate the concepts, principles and practical aspects of biophilic design as an innovative and responsible approach in the field of both landscape and interior architecture. With a focus on understanding the biophilic relationship between humans and nature, this paper examines the theoretical and practical dimensions of biophilic design, as well as its impact on the environment and humans themselves. This paper will synthesize key findings, highlighting the imperative for architects and designers to prioritize biophilic design principles in their work. The various elements and principles of biophilic design are also analyzed. By providing a holistic perspective on the application and impact of biophilic design in both landscape and interior architecture, this research aims to guide future design practices towards creating more sustainable, healthier and enriched built environments.

The Colour Scheme Design – Identity Element for Urban Public Transport

The Colour Scheme Design – Identity Element for Urban Public Transport

Author(s): Silviu TEODOR-STANCIU / Language(s): English / Issue: 1/2024

Keywords: design; colour scheme; urban identity; aesthetics; public transport system

The paper highlights the importance of the selection of the colour scheme for public means of transport in order to answer the sensory, identity and functional requirements proper for each urban centre. With a powerful impact on the social environment, public means of conveyance tend to be related to – in time – the image of the city of origin. Adopting a unique colour scheme represents a significant step in integrating the vehicles into the urban aesthetics and, also, in visually signalizing them in the crowded traffic. The principles of choosing the unique colour scheme and the design strategy are presented throughout a case study applied in Iasi, started in 2015 and still continuing. The social-cultural implications of the project generate a progressive improvement of the quality of the travel experience and city image.

The boundaries between design, decorative arts and crafts

Limitele dintre design, arte decorative şi artizanat

Author(s): Diana Ornella Andreescu / Language(s): English,Romanian / Issue: 11/2023

Keywords: design; arte decorative; artizanat; cultura; patrimoniu; traditie; design; decorative arts; handicrafts; culture; heritage; tradition;

Articolul tratează comparativ cele trei limitele dintre design, arte decorative și artizanat care pot fi uneori fluide și subiective, dar există anumite caracteristici și aspecte distinctive care pot ajuta la delimitarea acestora. Iată câteva diferențe generale: 1) Design: funcționalitate, estetică și formă, producție în masa. 2) Arte decorative: estetică dominantă, producție manual. 3) Artizanat: producție manual, tradiție și autenticitate. Este important să subliniem că aceste categorii pot să se intersecteze, și există opere care îmbină elemente de design, arte decorative și artizanat. De asemenea, perspectiva culturală și evoluția în timp pot influența modul în care aceste categorii sunt definite și percepute. Toate din zona esteticii aferentă produselor, conţin numeroşi termeni: arte decorative sau aplicate, artizanat, design, antichitate, styling, kitsch, estetica produsului şi aspectul produsului.The article comparatively deals with the three boundaries between design, decorative arts and crafts which can sometimes be fluid and subjective, but there are certain distinctive features and aspects that can help demarcate them. Here are some general differences: 1) Design: functionality, aesthetics and form, mass production. 2) Decorative arts: dominant aesthetics, manual production. 3) Craftsmanship: manual production, tradition and authenticity. It is important to emphasize that these categories can intersect, and there are works that combine elements of design, decorative arts and crafts. Also, cultural perspective and evolution over time can influence how these categories are defined and perceived. All from the area of aesthetics related to products, contain numerous terms: decorative or applied arts, handicraft, design, antiquity, styling, kitsch, product aesthetics and product appearance.

PEDAGOGICAL FRAMEWORK FOR THE DESIGN OF IMMERSIVE TEACHING ENVIRONMENT

ПЕДАГОШКИ ОКВИР ЗА ДИЗАЈН ИМЕРЗИВНОГ НАСТАВНОГ ОКРУЖЕЊА

Author(s): Jelica Z. Ristić / Language(s): Serbian / Issue: 2/2022

Keywords: virtual reality;teaching environments;immersing;design;pedagogical framework

Virtual reality technology has a growing potential to empower and support the development of immersive teaching environments where students would have a completely different learning experience. The aim of the research is to determine the design constructs of the teaching environment with virtual reality technology, and to create a prospective pedagogical framework (system) for creating an immersive teaching environment. Using qualitative and comparative content analysis, the paper reinterpreted the existing studies dealing with various pedagogical frameworks of VR technology integration in the teaching process and then the modeling method was applied. The methodical function of the proposed pedagogical framework (system) is of an assistive character because it can be useful to practitioners in the process of contemplating about possible ways of designing immersive teaching environments within interdependent subsystems (theoretical, action, technical and subject subsystems), guided by the basic constructive elements and proposed guidelines for the design.