Icograda Design Education Manifesto 2011

The present paper intends to present the early stage on a bigger attempt to discuss design education and its role in a paradigm shift moment, pointing the need to change how designers think and learn to face wicked problems in a more complex society. New active methodologies will be considered in order to promote a teaching-learning process that reinforces the construction of new competencies, which increases students' perception of the reality that surrounds them and makes them evident the impact of design processes and solutions. This conceptual broadening will make them more socially responsible agents, aware of the importance of their civic action and active role towards innovation, social wellbeing, and Sustainability.

Several factors have contributed to the expansion of the projectual focus of Design over time. Initially focused on the design of physical products, its scope is evolving toward a systemic perspective. The main design challenge in contemporary times is precisely to develop and/or support the development of solutions to highly complex issues that require a broad vision of the project, jointly and sustainably involving products, services and communication. It is in this context that the interpretive richness and visionary skills, inherent characteristics of this discipline, can contribute to the development of a plurality of solutions and future scenarios. This paper aims to conduct a reflection on approaches and tools that support the development of transversal relations and the role of the designer in system level. Possibilities of expanding the purview of the designer stand out through the strengthening of their role as boost agents of sustainable innovations (design for sustainability) and of projects related to local resources value (design applied to the territory value design system, design in the value chain, service design). In this context, the importance in the development of competencies related to the systemic view is emphasized, as well as to the symbolic analysis and to the establishment of crosscutting relationships with other disciplines and social actors.

DIID, Disegno industriale industrial design/DIID, 2024

The article presents the results of the debate that emerged during the 8 th International Forum of Design as a Process, organized in Bologna by the design units of three partner institutions: the University of Bologna, the Pontificia Universidad Católica de Chile and the Tecnológico de Monterrey (20-22 June 2022). In particular, the Authors were chairs of the New Education Pathways for Future Designers in a Changing World theme track. It focused on two complementary perspectives. First, how designers can apply their peculiar "productive thinking" to educational spheres or other forms of organizations; second, how a non-hegemonic approach to design education could introduce new perspectives on future experiences. After an introduction about the overall theorical background, five themes have been created to frame the papers by international scholars. The conclusion outlines some elements that can be considered in a process of continuous research and discussion.

The projects included in this documentation are intended to supplement advanced problems in graphic design/visual communication. Each project presented here is grounded in the idea of the designer as the constructor of culture and as an agent for change. Design does not exist in a vacuum and the design student should be fully aware and engaged in an understanding of issues related to social responsibility/ethical communication/cultural sensitivity and globalization. Ultimately, it is the designer who is positioned to construct a certain vision of the world. Therefore it is the intention that these projects aid in exploring the above-mentioned issues in the classroom. Included here are three projects and one exercise which may be interpreted for the specific teaching context. The projects presented here are intended to provide a framework for the design student to explore the following issues: · the specific role of language in a culture and how it reflects social, political and ideological values; · identity, hybrid cultures, colonial influences, literacy, ideology (political and religious), and contemporary mass media; · visual vocabulary of historic communication vehicles, including architecture, textiles, etc. and how these may, or may not influence contemporary visual communication; · consideration of resources and how this impacts design as an activity, thought process as well as its relationship to production.

The multiple environmental and socioeconomic challenges confronting humanity today, and a contemporary context that presents the promise of perpetual connectivity and accelerated patterns in information consumption and creation, represent powerful global forces that are shaping the way we live, work and learn. Such pressures and opportunities on an international scale are affecting design education in significant ways, creating an unprecedented need to deliver knowledge, experience and sophistication upon a global playing field. The college-wide initiative Designmatters at Art Center College of Design advocates for applied research approaches to complex humanitarian issues and provides unique methodologies for creative reform and change, empowering a new generation of designers to imagine critical solutions for society’s future well-being.

fa.utl.pt

Luís Romão Faculty of Architecture, TU Lisbon Rua Sá Nogueira, Polo Universitário, Alto da Ajuda, 1349-055 Lisboa, Portugal; [email protected] ... Rita Assoreira Almendra Faculty of Architecture, TU Lisbon Rua Sá Nogueira, Polo Universitário, Alto da Ajuda, 1349-055 ...

1995

This essay proposes new contours for design as a profession in a world whose industrial products have become more and more language-like and incommensurate discourses compete with one another for hegemony-the design discourse being merely one of many. It takes design to be constituted (that is, defined with)in processes of languaging. It calls on us to recognize and act in the awareness of how our discursive practices identify us as the experts we are, create the objects of our concerns, and provide us with a vocabulary to communicate or coordinate our actions relative to each other. 1 The motivation for this essay stems from the far too common experience that whenever designers do work with their counterparts from the so-called 'harder' disciplines, professionals who can argue with statistics, with experimental findings, with calculations or from positions of administrative authority, they most often lose out. Examples are abound. 2 I conclude from them that, first, designers often are preoccupied with products when what matters is how their ideas occur in talk, in clear presentations, in hard evidence, and in compelling arguments. It is communication that makes a difference and gets results. Second, design is foremost conceptual and creative of future conditions. Dwelling on existing facts often inhibits and is generally less important than the ability to bring a multiplicity of people to recognize the benefits of collaborating in the realization of new ideas. Designers are bound to fail when they do not act on the premise that their conceptualizations must make sense to those that matter. Third, the success of famous designers is based primarily on carefully nourished publicity, personal connections, or longtime working relationships with clients. The visual qualities and functionalities in terms of which 1 The insight that we humans, whether as ordinary people, as professionals or as scientists of one kind or another, are living in language is the starting point of several philosophers such as Martin Heidegger, Hans-Georg Gadamer, Ludwig Wittgenstein and Richard Rorty. I can not review their ground and must go on here. 2 The version of this essay which was presented to the conference included five examples, among them Robert Blaich's account of how Philips' well known Roller Radio almost didn't come to be. See Robert Blaich (1990), Forms of Design, pp. d1-d14 in Seppo Väkevä (Ed.

She Ji: The Journal of Design, Economics, and Innovation, 2020

If the ecosystems that we are part of and rely on are to flourish, we must urgently transform how we live, and how we imagine living. Design education has a critical role to play in this transformation, as design is a materially engaged, world-building activity. Design is complicit in the problems we are facing, and informs and shapes how people live. In this article, I seed ideas about design research education for global challenges. I speak to the merits of post-disciplinary and hybrid strategies, and look to science for clues about how to respond to twenty-first-century challenges through design. I posit sustainability brokering as a new pathway for design, and anticipating alternative futures as a critical step in developing transformative innovation. I then propose participatory research through design as a foundational methodology; describe four pillars of practice to scaffold sophisticated research at undergraduate and master's level; and lay out a work plan for building research capacity in a doctoral school. Through this process, I articulate core skills that design researchers will likely require if they are to contribute to global challenges constructively. My aim is to seed fruitful regenerative discussion with these propositions.