A ‘semantics’ of visual design: the care and feeding of studio projects within a communication-theory context

Byrne, Kevin

doi:10.1016/0142-694x(90)90003-u

Cited by 10 publications

(5 citation statements)

References 7 publications

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“…Podemos reconciliar estas miradas críticas frente a la relación moda-Diseño, cuando reconocemos al Diseño como un dispositivo semiótico que opera a nivel instrumental y simbólico, a nivel de significados y significantes, y a nivel de imaginarios y sentido (De Michelis, 2015;Folkmann, 2011;Byrne, 1990). Como seres humanos no vestimos nuestros cuerpos sólo para cubrir la desnudez o protegernos del frío o los rayos ultravioleta, sino que ritualizamos el acto vestimentario en lo cotidiano, de acuerdo a contextos sociales y culturales a los que dotamos de sentido más allá de la materialidad textil o morfología funcional propia de la indumentaria (Ramírez, 2019;Saltzman, 2019;Kawamura, 2018;Montalva, 2015;Saulquin, 2010Saulquin, , 2014Rocamora, 2001).…”

Section: El Diseño La Moda Y Sus Prácticas De Intercambio: ¿Negación O Apropiación Cultural?unclassified

Moda y apropiación cultural: reflexiones críticas desde la identidad y el Diseño

Cotal

2021

RChD: creac. pensam. (En línea)

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En un mundo globalizado los casos de apropiación cultural relacionados con marcas de moda se han hecho habituales, obligándonos a revisar los procesos de Diseño que articulan intercambios entre grupos culturales distintos, especialmente cuando estas transacciones están asociadas a diferencias de poder que impiden una relación simétrica. A partir de un análisis visual de casos que involucran a marcas de moda vinculadas con usos indebidos de elementos iconográficos de diferentes comunidades indígenas, se estudian las dimensiones del concepto de apropiación cultural, desde una perspectiva relacional y constructivista de la identidad, para comprender el impacto que estas prácticas del Diseño de indumentaria tienen a nivel cultural, desde la triada arquetípica del intercambio social propuesta por el antropólogo francés Marcel Mauss, basada en el dar, recibir y devolver. Finalmente se propone un modelo relacional para comprender las dimensiones de autoría, coautoría e identidad en los procesos de Diseño, y reflexionar en los alcances que posee el concepto de apropiación cultural para el Diseño, más allá del ámbito jurídico; puesto que como práctica disciplinar, estimula la invisibilización del otro, impide la creación de un vínculo social entre diseñadores, marcas y comunidades usufructuadas, y niega la alteridad necesaria para la construcción identitaria de ambos grupos humanos.

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Section: El Diseño La Moda Y Sus Prácticas De Intercambio: ¿Negación O Apropiación Cultural?unclassified

Moda y apropiación cultural: reflexiones críticas desde la identidad y el Diseño

Cotal

2021

RChD: creac. pensam. (En línea)

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“…Instructors might consider various forms of teaching, including desk talk, case study, lecture, presentation, and demonstrations. Suggestions are offered for proper modifications based on careful assessment of students' design trials [35, 36]. Sometimes the instructor acts as a master to impart professional knowledge and experience.…”

Section: Literature Reviewmentioning

confidence: 99%

On the networking synthesis of studio factors to the integration of design pedagogy

Wang

Chen

et al. 2019

PLoS ONE

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Studio is critically important for design education, but few attempts have been made to demonstrate the parallels between studio factors and design performance. This paper adopts a coherent set of analyses to investigate the major studio factors and attempts to quantify the networking interactions among them. First, it describes how architectural studio is usually organised based on some major factors. Next, a theoretical model is established according to the described hypotheses and their mutual interactions. Third, the research method and statistical analysis with structural equation modelling (SEM) are presented. Finally, the results of this empirical examination are presented for discussion and suggestions. Our findings reveal that studio tutorials have no significant effect on undergraduate's design performance. In contrast, students’ subjective intention plays a more important role in shaping their behaviour, indicating the importance of transferring those exterior forces into internal benefits when the studio instructor attempts to optimise the pedagogy. These findings are also inspiring for all creative disciplines.

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“…In the course of the sessions students reflect on their design ideas, establish a dialogue with their materials, and test a number of alternatives while they attempt to frame a design situation (Schon, 1983). Teachers, on the other hand, criticize and assess student design trials, recommending modifications, and suggesting further steps to be undertaken in the design (Byrne, 1990;Demirbas and Demirkan, 2003). The criticism exercised in the studio is an essential means for coaching students in the development of their design solutions.…”

Section: Introductionmentioning

confidence: 99%

Correspondences and Divergences between Teachers and Students in the Evaluation of Design Creativity in the Design Studio

Casakin

Kreitler

2008

Environ Plann B Plann Des

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The assessment of design creativity is a fundamental issue in the educational curriculum in schools of architecture. Assessment in the form of criticism is carried out in the design studio, where students acquire skills and knowledge, forge judgments about their design outcomes, and get feedback from their instructors. This study focuses on the assessment of creativity in design problem solving. The major objective of this research was to test to what extent architects and design students share the same conceptions of creativity, and how similar they are. Contrasting differences were found between the two groups. While architects focused on innovation aspects, students paid more attention to operational aspects, such as dealing with design requirements. It is maintained that handling these differences by means of intervention programs in the design studio may promote the acquisition of design processes and procedures by the students, and also that, it will contribute to bridging the gap between the way teachers and students perceive and evaluate design creativity.

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A ‘semantics’ of visual design: the care and feeding of studio projects within a communication-theory context

Cited by 10 publications

References 7 publications

Moda y apropiación cultural: reflexiones críticas desde la identidad y el Diseño

Moda y apropiación cultural: reflexiones críticas desde la identidad y el Diseño

On the networking synthesis of studio factors to the integration of design pedagogy

Correspondences and Divergences between Teachers and Students in the Evaluation of Design Creativity in the Design Studio

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