Suchergebnisse

This thesis concerns the roles and responsibilities of designers when we design workshops with democratic ambitions. Reflecting on my experiences from making co-design workshops for citizen participation to support sustainable urban development in municipal planning processes, I inquire into designers' societal entanglements and explore these from democratic, social, political and designerly perspectives. Designing workshops in municipal planning processes made me curious about the diverse interpretations and practices of democracy. Seeking to make sense of my role in relation to these, I trace intertwinements between design and democracy. I reflect on how industrial designers' roles are historically entangled with market-driven relations, formed by production and consumption. I also look at how political theory and philosophy articulate tensions within democracy, and criticise neoliberal political rationality for erasing the tension between democracy and capitalism. As designers are entangled in past and present relations affecting our roles and practices, we are affected by, but also influence, what we engage with. Designers who engage with democratic concerns navigate these tensions and thus affect how democracy is practiced. My inquiry into these perspectives led me to argue for designers' responsibilities and for the need to reorient our practices to respond to democratic issues. Responsibilities need to be articulated in relation to tensions, as well as from within our practices; tensions can help us consider how we orient our practices – in relation to whom, what and where we design. As our relations also form our response-abilities, these reorientations also reshape our abilities to respond in practice, critically and carefully. I propose three concerns to support designers, design students and design researchers in orienting their practices, arguing that it is important to reflect on the concerns of entanglements, tensions, and responsibilities. These concerns focus on designers' potential of making, on ...

Abstract
When the ten classes of signs postulated by the founder of scientific semiotics, American Philosopher Charles Sanders Peirce, are applied to the world of visual communication, a question arises about the class he labels "Argument". Can a graphic designer construct, in the arrangement of his visual materials, a complete argument? This is the question pursued in this paper. After translating Peirce's classes into language familiar to the design industry, and looking at the requirements of Argument as a discrete class of signs, I suggest that designers always produce assertions, but rarely, perhaps never, do they construct a complete argument

The workplace of construction is considered complex with diversity of activities, teams, using machinery and equipment during the production process. Also particular aspects are inherent to the methods of production. If considering the multiple factors involved in construction and their high rates of accidents, it means that is crucial to implement preventive measures thought from the beginning of risks, during the project design. Generally, literature presents the benefits of prevention through design, demonstrates the viability and makes projections for the future. In some countries, the legislation of responsibility for construction worker safety is also shared with the designer. However the existing material is still new, integrating safety considerations into the design process in practice is low and there are still many difficulties and associated resistances. In this context, this paper aims to presentation an ongoing study, which its objective is contribute to filling this gap in order to directly assist the designers and contractors. The proposal is to produce a model for integrating safety considerations into the design process and a practical guide containing work safety guidelines for designers.

Der aus Görlitz stammende, heute fast vergessene Designer Erich Henschel trat 1930 in die Reklameklasse des Bauhauses ein. Er gehörte mit seiner späteren Frau, Ruth Josefek, 1933 zu den letzten Absolventen. Aufgrund der umfassenden Ausbildung in allen Bereichen der Werbeindustrie wurde Erich Henschel 1935 zum künstlerischen Leiter der Ostmesse in Königsberg berufen. Nach Krieg und Vertreibung ließen sich Ruth und Erich Henschel in Löwenstein nieder. Nachdem er bereits Anfang der fünfziger Jahre für Knorr und weitere Firmen Werbemittel und Messestände gestaltet hatte, begann 1956 die langjährige Zusammenarbeit mit der Firma Soehnle, zu deren "Hausdesigner" er in den sechziger Jahren avancierte. Immer wieder übernahm Erich Henschel auch Aufträge für sogenannte Kunst am Bau, z.B. mehrere Bauprojekte des Diakonissen-Mutterhauses in Gunzenhausen. Ab Mitte der sechziger Jahre entstanden Materialbilder und abstrakte Objekte aus Plexiglas und Edelstahl. In der Verbindung aus reinen geometrischen Formen, Material und Licht spiegelt sich in diesen Arbeiten die Ästhetik des Bauhauses wider, der Henschel auch in seinem Spätwerk verpflichtet blieb. Ab 1970 nahmen Ruth und Erich Henschel an zahlreichen Ausstellungen, u.a. des Künstlerbunds Baden-Württemberg, teil. 1974 übernahm das Bauhaus Archiv Berlin Werke in den Sammlungsbestand. Indem Henschel Messegestaltung, Grafik- und Industriedesign mit Innenarchitektur und freier künstlerischer Arbeit verband, verwirklichte er Joost Schmidts Idee einer Gestaltung im umfassenden Sinn.

A Utopian ideal has been proposed in the form of an integrated guide to the design of displays for complex systems. This ideal guide would combine the latest knowledge in the form of principles, methods, human performance data and hardware performance data in such a way that a user could enter the guide from a problem in any phase of display development and obtain the best guidance possible. A closer, more realistic look at the problems involved has suggested that the state of the art today would permit a giant step toward the ideal and that, given proper support (which is feasible though unlikely), a guide could be produced and maintained that would be significantly closer to the ideal than are today's references.