Relevant bibliographies by topics / Design history, theory and criticism

Academic literature on the topic 'Design history, theory and criticism'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Design history, theory and criticism"

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Williams, Joyce. "Design discourse: History/theory/criticism." Journal of Social and Evolutionary Systems 15, no. 3 (January 1992): 327–31. http://dx.doi.org/10.1016/1061-7361(92)90014-5.

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Hatton, Brian. "Exploring architecture as a critical act, questioning relations between design, criticism, history and theory." Architectural Research Quarterly 8, no. 2 (June 2004): 105–8. http://dx.doi.org/10.1017/s1359135504000132.

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This conference, which took place 25–27 November 2004, was held by the Bartlett School of Architecture in association with the Architectural Humanities Research Association (AHRA). Its stated aim was to examine the relationship between critical practice in architecture and architectural criticism, intending to place architecture in an interdisciplinary context with reference to modes of criticism in other disciplines, specifically art criticism, and to explore modes of critical practice in architecture: buildings, drawings and texts. Brian Hatton attended the second day of the conference; his comments on the first day are based on discussions with colleagues and reading of transcripts.
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Adams, Rachel. "What Can A Literary Critic Do? Thoughts on a Universal Design for Criticism." American Literary History 34, no. 1 (February 1, 2022): 9–19. http://dx.doi.org/10.1093/alh/ajab103.

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Abstract This essay expresses discomfort with Matthew Arnold’s description of the critic’s function as seeking out “the best that is known and thought in the world,” favoring instead the more neutral description, “an activity or purpose natural to a thing.” Inspired by the practice of universal design, which seeks to make the environment accessible to a diverse range of bodies and minds, it seeks to define the function of literary criticism in terms of what it can do, as well as a functional literary criticism, one that accommodates the widest possible range of texts, modes of reading, and interpretive practices. Refusing Arnold’s call for disinterest, it insists on a situated criticism that combines theory with personal experience. Because I am interested and because the only critical practice I can imagine for this present is fully interdependent with my nonprofessional life, this essay moves between an account of how literary criticism functions in my work as a teacher and a writer (focusing on the critical activities of formalism, cultural analysis, and syllabi-building), and how it might function to account for my neurodiverse son’s rebellious, creative, and total living through and with narrative. [T]his essay moves between an account of how literary criticism functions in my work as a teacher and a writer, and [that of] my neurodiverse son’s rebellious, creative, and total living through and with narrative.
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Liu, Qi, Huagang Yang, and Yiwei Zhang. "Re-criticism of Geomantic Omen in Modern Design from the Perspective of Data Analysis." ITM Web of Conferences 25 (2019): 03004. http://dx.doi.org/10.1051/itmconf/20192503004.

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Geomantic omen is both strange and familiar to the contemporary people. It is not only a part of the traditional Chinese culture, but also contains the contradictions and disputes in Chinese long history of thought, practice and theory. This article is based on the context of modern design, discuss the reason of the Geomantic omen cannot be the key factors of modern design from three perspectives, including research trend, discipline development, practice creation. Through the summary of data, typical cases, and geomantic theory, it is believed that modern geomantic research should be based on rational evaluation and theoretical research. Except that, geomancy can be study not only by using modern science and technology, but also through transcending the ideological level. Finally, the idea of the future development of geomantic is set up for the re-thinking and re-exploration of the contemporary research.
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Dale, James. "‘How can you say to me I am a King?’: New Historicism and its (Re)interpretations of the Design of Kingly Figures in Shakespeare’s History Plays." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (June 30, 2021): 143–58. http://dx.doi.org/10.18778/2083-8530.23.09.

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The 1980’s saw the emergence of New Historicist criticism, particularly through Stephen Greenblatt’s work. Its legacy remains influential, particularly on Shakespearean Studies. I wish to outline New Historicist methodological insights, comment on some of its criticisms and provide analytical comments on the changing approach to historical plays, asking “What has New Historicism brought into our understanding of historical plays and the way(s) of designing kingly power?” Examining Shakespeare’s second tetralogy, I will review Greenblatt’s contention that these plays largely focus on kingly power and its relationship to “subversion” and “containment”. I intend to focus on aspects of the plays that I believe have not received enough attention through New Historicism; particularly the design of the kingly figures.
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Vergunova, Natalia. "The concept of structuralism in context of historical development of art and design." Culturology Ideas, no. 19 (1'2021) (2020): 46–54. http://dx.doi.org/10.37627/2311-9489-19-2021-1.46-54.

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The article discusses theoretical foundations for the emergence and formation of structuralism in Western European art criticism in the 1930-1940s, namely, the theory of representatives of the Viennese school. It considers the main concepts and terms of the concept of structuralism formed by theorists of that time in the context of the development of art history. An attempt to project the ideas of structuralism into the sphere of design is made with the involvement of the research by French theorists Claude Levi-Strauss and Roland Barthes. As a result, the main theoretical provisions of structuralism as a modeling activity and a structural person as a creator of meanings were correlated with the design field and the professional duties of a designer. Considering certain structuralism ideas in the works of French researchers in the context of the modern process of creating an industrial product, the concept of structuralism was supplemented and its certain predictability for the development of design in general was revealed.
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Berryman, Jim. "Art as document: on conceptual art and documentation." Journal of Documentation 74, no. 6 (October 8, 2018): 1149–61. http://dx.doi.org/10.1108/jd-01-2018-0010.

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Purpose The purpose of this paper is to bring the work of Seth Siegelaub (1941–2013) to the attention of document studies. Siegelaub was a pioneer of the conceptual art movement in New York in the 1960s, active as an Art Dealer, Curator and Publisher. He is remembered by art history for his exhibition catalogues, which provided a material base for intangible works of art. Design/methodology/approach This paper uses a comparative approach to examine the documents of conceptual art, especially the exhibition catalogues produced by Siegelaub between 1968 and 1972. Drawing on literature from document theory and art history and criticism, it examines several of Siegelaub’s key exhibition catalogues and books. Findings Siegelaub’s theories of information have much in common with the documentalist tradition. Siegelaub’s work is important, not just for its potential to contribute to the literature of document theory. It also provides a point of dialogue between art history and information studies. Originality/value To date, the common ground between art and documentation has been explored almost exclusively from the perspective of art history. This paper is among the first to examine conceptual art from the perspective of document theory. It demonstrates potential for cross-disciplinary collaboration.
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Vacura, Miroslav. "Lacey's Concept of Value-Free Science." Teorie vědy / Theory of Science 40, no. 2 (March 27, 2019): 211–29. http://dx.doi.org/10.46938/tv.2018.413.

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Many philosophers of science have maintained that science should be value-free; still others believe that such ideal is neither achievable nor desirable for science. Hugh Lacey is presently one of the main supporters of the idea of value-free science and his theory is probably the most debated today and attracts the most attention and criticism. Therefore, in this text, I will primarily analyze his theory of value-free science. After briefly defining the notion of value I highlight which strategy Lacey chooses to lay a firm foundation for the concept of science without value, with his starting point being the differentiation between cognitive and non-cognitive values. Then I describe three basic characteristics of Lacey’s value-free science: impartiality, neutrality, and autonomy. However, the overall plan and design of his project, together with some concrete steps he takes, are not without problems in our view. I will try to point out some of these problematic issues and provide brief suggestions for alleviating them.
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Muldoon, Jeffrey. "The Hawthorne studies: an analysis of critical perspectives, 1936-1958." Journal of Management History 23, no. 1 (January 9, 2017): 74–94. http://dx.doi.org/10.1108/jmh-09-2016-0052.

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Purpose The purpose of this paper was to analyse the academic context of the Hawthorne studies from 1936. More specifically, great attention was paid towards those articles that were critical of the Hawthorne studies. This study aimed to analyse why the Hawthorne studies were so criticized during the time period. Design/methodology/approach The author analysed various critical articles/books from the time period. The author developed the sample through the use of Landsberger’s Hawthorne Revisited. The author used one of the first critical articles, Daniel Bell’s, as a means to analyse the critics. In addition, secondary literature was used to place the articles in context. Findings The author found that the majority of the critics were sociologists; these criticisms reflected larger debates in sociology in terms of theory, method and ethics of research. They reflected the great changes that occurred in sociology during the time period, as opposed to industrial/organizational psychology, for example, where there was little criticism at the time. Originality/value The purpose of this study was to continue the work of Muldoon (2012) and Hassard (2012) and place the work of the Hawthorne studies in a larger academic context.
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Cellauro, Louis. "IN QUEST OF COMFORT: CARLO LODOLI, THEORIST OF ORGANIC ARCHITECTURE AND FURNITURE DESIGNER." Papers of the British School at Rome 87 (February 26, 2019): 267–307. http://dx.doi.org/10.1017/s0068246218000405.

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Lodoli's subversive doctrine of truth-to-material was the most original and influential aspect of his approach to architecture. His concept of organic architecture, the main focus of this paper, has been less studied and is accordingly less well understood, although it was an important facet of his design theory. Lodoli applied his novel approach most obviously to the design of furnishings, particularly of chairs, but also extended it to architecture in a project for the refurbishment of the pilgrims’ hostel at San Francesco della Vigna, in Venice, the only instance in which he put his architectural ideas into practice. In Lodoli's thinking, great importance was given to the notion of comfort, and in this respect he shared new concerns common among French architects and furniture makers of the Enlightenment. Indeed, his ideas about architecture and design owe much to the influence of the Enlightenment, with its emphasis on reason, truth and universal criticism.
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Dissertations / Theses on the topic "Design history, theory and criticism"

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Stergiou, Stavroula. "The concept of the avant-garde in twentieth and twenty-first century architecture : history, theory, criticism." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/32215/.

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The ‘Avant-Garde’ in architecture seems a challenging subject: first, because the term has not yet clearly defined, despite the ubiquity of its use; second, because through that ubiquity it has become a buzz-word that is empty of precise meaning; third, because although this use includes the history of modern architecture, its application to this field has been largely unreflective and often unconsidered, as this thesis demonstrates. There is ambivalence as to which architectures are ‘Avant-Garde’ or should be regarded as ‘Avant-Garde.’ Therefore, there is a challenge in any question such as: what is the Avant-Garde in architecture? How can the architectural Avant-Garde be defined? What is the concept of the Avant-Garde in architecture? My thesis is a sociological conceptualization of the Avant-Garde in architecture. It is based on the mapping of the use the‘ term ‘Avant-Garde’ in architectural history, theory and criticism and its analytical tools are sociological. While it belongs to the above fields, it is informed by art theory and history, cultural studies, and the sociology of the professions, and includes sociological, cultural and political analyses. I suggest that the Avant-Garde is an Operation internal to architecture; a mechanism that does not only describe it but formulates it, motivates it, or else, influences our perception of it. I propose that the Avant-Garde is directed by prominent elements of its internal domain. It includes a filtering process, a rough selection process, and a selection process, by which one or more architectures internal conditions - are introduced to the discipline to renew the profession toward the desired and necessary, for the element who directs the operation, direction (see fig. 2, appendix). The end result of the selection process is what we commonly understand as ‘Avant-Garde’ architecture, e.g. Russian Constructivism or Bauhaus. I also propose that the Avant-Garde lies in and operates within the socio-ideological sphere of architecture and that renewal of the architecture's internal domain is necessary, thus the Avant-Garde is necessary, so as to make architecture respond to each time new external conditions and so endure, as a profession, over time. The Avant-Garde is for me an operation of renewal, a driver of difference and change in architecture (see fig. 1, appendix). The methodology adopted is as follows: I first introduce my analytical tools, some key sociological concepts, and concepts from the ‘Avant-Garde’ discourse (chapter 1). I then examine the filtering process and rough selection process in architectural history: I map the usage of the term in a historiographic corpus and arrive at the more frequently and the less frequently named ‘Avant-Garde’ architectures, which become my two case studies. These are Russian Revolutionary Architecture and Italian Rationalism (chapter 2). The third step is to arrive, through the comparison of my case studies, at those parameters that are crucial in being selected as ‘Avant-Garde,’ i.e. their ‘Avantgardification’ - this occurs after 1960 when the term starts being used describing architectures (part 2). The fourth step is to examine the period of the extended 19605 when the term starts appearing as a means of describing architectures and thus the selection process begins (chapter 6). As a fifth step I research the selection process in the discourse of architectural theory and criticism: I investigate in a particular corpus of writings which architectures, by whom they are chosen as ‘Avant-Garde,’ and the reason why, as Well as which are the concomitant effects of the usage of the term on architecture. In other words, beyond concentrating on which architectures or architectural movements are ‘Avant-Garde' in these writings, I focus on the effects of this selection and denomination (chapter 7). As a sixth step, I examine the selection process of my two case studies in architectural theory and criticism, i.e the Avantgardification of Russian Revolutionary Architecture and less of Italian Rationalism. I investigate when, by whom, and the reason why the first architecture is mostly selected as ‘Avant- Garde,’ as well as which are the concomitant effects on architecture (chapter 8, see also fig. 3, appendix). As a final step I examine the Avant-Garde as a sociological concept based on the key-concepts introduced in chapter 1 (Conclusions). A sociological conceptualization of the Avant-Garde is important for shedding light on issues beyond those of ‘Avant-Garde’ architectures. Through such a concept of the Avant-Garde we recognize issues of the profession, issues which are wider than questions which are directly connected to those architectures selected as such. Looking through the ‘Avant-Garde’ we understand the ways by which architecture is being renewed and Operated. By recognizing the conditions, in which the ‘Avant-Garde’ architectures have been created, and the way and time in which the term was employed to describe them, we understand the mode in which architecture, as a discipline, functions. My thesis is a hermeneutics of the architectural profession through the term ‘Avant-Garde.’
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Maiden, Shelby. "The Commodity Club: Commodity Fetishism in Modern Art and Tattoos." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/467.

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The current culture of commodity fetishism that surrounds both modern art and tattoos are disproportionately a part of the perpetuation of an artificial sense of society and community. It promotes the notion that by simply by inking the deeper layers of their skin or by spending millions on a painting that somehow one becomes elevated and enters an elite space, or club, of people like them.
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Gaier, Samantha. "Interior Decoration as Fine Art: Rachel Feinstein and The Sorbet Room, 2001." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363604230.

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Watts, Chelsea Anne. "Painting Parisian Identity: Place and Subjectivity in Fin-de-siecle art." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3403.

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In this thesis I provide analysis of several nineteenth-century artworks in order to elucidate the connections between place and identity as expressed in visual representations of Paris. I utilize Bakhtin's idea of the dialogical as a means of identifying multiple subject positions that might be accessed by particular individuals who live in socially constructed spaces specific to fin-de-siècle Paris. I discuss the construction of three performed identities unique to nineteenth-century Paris: the Flâneur, the bohemian, and the primitivist. In each chapter I will parse out the social construction of the spaces where these identities existed and were performed, and link those identities to their discursive functions as particular models of Parisian life. I will discuss the relationship of each representation of identity to Henri Lefebvre's concept of socially-produced space through analysis of the stylistic and compositional choices made by the artist. The visual artworks I discuss include Edouard Manet's A Bar at the Folies-Bergère, Vincent van Gogh's The Outskirts of Paris, Night Café, and Café Terrace at Night, and Henri de Toulouse-Lautrec's Jane Avril and Divan Japonais.
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Rockhill, Paul Hunter. "The Reception Theory of Hans Robert Jauss: Theory and Application." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5153.

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Hans Robert Jauss is a professor of literary criticism and romance philology at the University of Constance in Germany. Jauss co-founded the University of Constance and the Constance group of literary studies. Hans Robert Jauss's version of reception theory was introduced in the late 1960s, a period of social, political, and intellectual instability in West Germany. Jauss's reception theory focused on the reader rather than the author or text. The original reception of a text was compared to a later reception, revealing different literary receptions and their evolution. Jauss's Rezeptionsgeschichte (history of reception) illustrated the evolution of the reception of texts and the evolving paradigms of literary criticism that they were a part of. However, Jauss's essays proved to be more of a provocation for change in literary criticism than the foundation for the next literary paradigm. The empirical studies discussed in this thesis reveal the.idealism of Jauss's theory by testing main ideas and concepts. The results show the inapplicability of Jauss's theory for practical purposes. The intent of this study is to illustrate the origins, development and impact of Jauss's version of reception theory. The interrelationship between the social environment, the institutional reforms at the University of Constance, and the methodology of reception theory are also discussed. The new social values in West Germany advocated individualism and questioned status quo institutions and their authority. This facilitated the establishment of the University of Constance, which served as the prototype for the democratization of German universities and the introduction of Jauss's reception theory. With the democratization of the university, old autonomous faculties were broken down into interdisciplinary subject areas. The Old Philology and New Philology department were made into the sciences of language and literature and ultimately introduced as the all-encompassing literaturwissenschaft. Five professors from the Slavic, English, German, Classics and Romance language departments gave up direction of these large departments to work together under the Constance reforms in an effort to form a new concept of literary studies. The result was the socalled theories of "reception" and "effect" which they continue to research.
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Ceci, Veronica B. "/100 (Out of One Hundred)." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1397821954.

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Mathews, Peter David 1975. "Strategies of realism : realist fiction and postmodern theory." Monash University, Centre for Comparative Literature and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8656.

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林浩光 and Ho-kwong Lam. "A study of Zhou Ji's (1781-1839) theory of CI poetry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31244361.

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Li, Siu Leung, and 李小良. "Toward a theory of dramatic adaptation: with special reference to Shakespearean and Ming Qing adaptations." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1986. http://hub.hku.hk/bib/B31207352.

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Covington, Faries M. "Friedrich Blass on the rhetorical theory of Isocrates." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/932632.

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Nineteenth-century classical scholar Friedrich Wilhelm Blass wrote over 300 densely annotated pages on Isocrates, an ancient Athenian schoolmaster and political essayist. A lengthy section of Blass' Die attische Beredsamkeit (1898) has been excerpted here and translated into English for the first time. The excerpt involves Blass' inventory of the Isocratic canon, an argument for the existence of a lost Isocratic rhetoric (techne), and an illustration of what that lost rhetoric likely contained. A translator's prologue discusses the value of both Isocrates and Blass to the study of classical rhetoric. Blass' work is also contrasted with the work of his British contemporary, R. C. Jebb.Blass' commentary on Isocrates requires of its readers a fluency in the technical terminology of classical rhetoric and a patience, perhaps a passion, for difficult rhetorical style. Blass frequently exercises in his writing the Isocratic principles and schemata he discusses. The English translation here, in order to preserve that trait in Blass' personal style, often approaches rhetorical replication of the original German text. Hence it becomes, to a certain extent, as much a simulacrum rhetoricum as a translation.In his text, Blass exposes a traditional misunderstanding of Isocrates that has resulted in a lack of appreciation for his overall contribution. We too often judge the Isocratic canon's value based either upon orations Isocrates constructed early in his career, before he matured in his art, or upon ones he composed late in his life, when he was in his eighties and nineties and becoming a bit senile. As a result, the merit of Isocrates' work during his most influential period, his middle age, is often ignored.The quality of the entire Isocratic canon must be carefully examined, Blass maintains, before its author or his work can be accurately judged. Accordingly, Isocrates' rhetoric is illustrated here as it evolved throughout his career. Blass' examination includes more detailed rhetorical explications than any other treatise currently available in English.
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Books on the topic "Design history, theory and criticism"

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1941-, Margolin Victor, ed. Design discourse: History, theory, criticism. Chicago: University of Chicago Press, 1989.

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Georgia, Bizios, ed. Architectural theory and criticism, urban design theory, architectural history. Durham, N.C: Eno River Press, 1991.

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Carlo Scarpa: Theory, design, projects. Cambridge, Mass: MIT Press, 1986.

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Sandaker, Bjørn Normann. Reflections on span and space: Towards a theory of criticism of architectural structures. Oslo: Arkitekthøgskolen i Oslo, 2000.

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Xie, Liu. The book of literary design. Hong Kong: Hong Kong University Press, 1999.

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Game sound: An introduction to the history, theory, and practice of video game music and sound design. Cambridge, Mass: MIT Press, 2008.

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1949-, Bryson Norman, Holly Michael Ann, and Moxey, Keith P. F., 1943-, eds. Visual theory: Painting and interpretation. Cambridge: Polity Press, 1991.

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Head, Pauline E. Representation and design: Tracing a hermeneutics of Old English poetry. Albany: State University of New York Press, 1997.

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The visible world: Samuel van Hoogstraten's art theory and the legitimation of painting in the Dutch golden age. [Amsterdam]: Amsterdam University Press, 2008.

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Hidden designs: The critical profession and Renaissance literature. New York: Methuen, 1986.

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Book chapters on the topic "Design history, theory and criticism"

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Cameron, Barry. "5. Theory and Criticism: Trends in Canadian Literature." In Literary History of Canada, edited by William New, Carl Berger, Alan Cairns, Francess Halpenny, Henry Kreisel, Douglas Lochhead, Philip Stratford, and Clara Thomas, 108–32. Toronto: University of Toronto Press, 1990. http://dx.doi.org/10.3138/9781487589547-007.

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Reicher, Christa. "A Journey: From History to Theory." In Urban Design, 23–46. Wiesbaden: Springer Fachmedien Wiesbaden, 2022. http://dx.doi.org/10.1007/978-3-658-34370-5_3.

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Meisel, Perry. "Form and History from Dickens to Woolf." In Criticism After Theory from Shakespeare to Virginia Woolf, 58–68. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003278528-5.

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Gozzi, Gustavo. "Rechtsstaat and Individual Rights in German Constitutional History." In The Rule of Law History, Theory and Criticism, 237–59. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5745-8_5.

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Amalia, Leifeste, and Barry L. Stiefel. "History and Theory of Sustainable Design." In Sustainable Heritage, 76–93. New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315748948-4.

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Zolo, Danilo. "The Rule of Law: A Critical Reappraisal." In The Rule of Law History, Theory and Criticism, 3–71. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5745-8_1.

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Loretoni, Anna. "The Rule of Law and Gender Difference." In The Rule of Law History, Theory and Criticism, 371–86. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5745-8_10.

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Baccelli, Luca. "Machiavelli, the Republican Tradition, and the Rule of Law." In The Rule of Law History, Theory and Criticism, 387–420. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5745-8_11.

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Pievatolo, Maria Chiara. "Leoni's and Hayek's Critique of the Rule of Law in Continental Europe." In The Rule of Law History, Theory and Criticism, 421–39. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5745-8_12.

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Clavero, Bartolomé. "The Rule of Law and the Legal Treatment of Native Americans." In The Rule of Law History, Theory and Criticism, 443–66. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5745-8_13.

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Conference papers on the topic "Design history, theory and criticism"

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Casais Pérez, Nuria. "Feeling (at) Home." In Jornadas sobre Innovación Docente en Arquitectura (JIDA). Universitat Politècnica de Catalunya. Iniciativa Digital Politècnica, 2022. http://dx.doi.org/10.5821/jida.2022.11642.

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The course is based on a Learning by Design and Project-Based Learning methodology, on which the project is the basis of the student’s education. The design course –architectural design– aims to offer critical reflections on the current social challenges in relation to housing and ecological issues. It integrates inquiry and study of the conditions and qualities that make a specific place inhabitable; skills on how to implement and develop building systems and techniques; and a rigorous knowledge and avid curiosity of architectural history, theory, and criticism that can operate within a particular cultural context while contributing meaningful improvements to it. In this sense, the course reflects on new residential fragments built in Aarhus through housing and domestic space in its different typologies, formats, and contexts, and the study of building systems, materiality, and tectonics. El curso se enmarca en una metodología de Learning by Design y Project-Based Learning, en la que el proyecto es la base de la educación del estudiante. El curso de proyectos –diseño arquitectónico– pretende ofrecer reflexiones críticas sobre los retos sociales actuales en relación a cuestiones habitacionales y ecológicas. Se promueve el indagar y estudiar las condiciones y cualidades que hacen que un lugar sea habitable introduciendo en la reflexión conocimientos sobre cómo implementar los sistemas constructivos y la técnica operando con un conocimiento riguroso y una curiosidad por la historia, la teoría y la crítica en arquitectura. En este sentido, el curso reflexiona sobre nuevos fragmentos residenciales construidos en la ciudad de Aarhus a través de la vivienda y el espacio doméstico en sus diferentes tipologías, formatos y contextos, y el estudio de sistemas constructivos, la materialidad y la cultura tectónica.
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Xinting, Liang. "The Trajectory of Collective Life: The Ideal and Practice of New Village in Tianjin, 1920s-1950s." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4026pt85d.

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Originated from New Village Ideal in Japan, New Village was introduced to China in the early 1920s and became a byword for social reform program. Many residential designs or projects whose name includes the term “Village” or “New Village” had been completed in China since that time. This paper uses the Textual Criticism method to sort out the introduction and translation of New Village Ideal theory in China, and to compare the physical space, life organization and concepts of the New Village practices in ROC with in early PRC of Tianjin. It is found that the term “New Village” continued to be used across several historical periods, showing very similar spatial images. But the construction and usage of New Village and the meaning of collective life changed somewhat under different political positions and social circumstances: New Village gradually became an urban collective residential area which only bore the living function since it was introduced into modern China. The goal of its practice changed from building an equal autonomy to building a new field of power operation, a new discourse of social improvement and a new way for profit-seeking capital. With the change of state regime, the construction had entered a climax stage. New Village then became the symbol of the rising political and social status of the working class, and the link between the change of urban nature and spatial development. Socialism collective life and the temporal and spatial separation or combination between production and live constructed the collective conscience and identity of residents. The above findings highlight the independence of architecture history from general history, help to examine the complexity of China’s localization New Village practice and the uniqueness of Tianjin’s urban history, and provide new ideas for the study of China’s modern urban housing development from the perspective of changes in daily life organization.
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Dinulovic, Tatjana Dadic. "TEACHING THEORY AND CRITICISM OF SCENE DESIGN." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.051.

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Santamaria, Giovanni. "Merging Thresholds and New Landscapes of Knowledge." In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.11.

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It has become extremely important to revisit our teaching methodology along with pedagogical contents and objectives, in consideration of the impressive and sometimes overwhelming progress that the technology available to document, analyze and represent the complexity of our built and natural environments has reached, and also the role that it has been proactively playing in affecting our way of thinking, designing and building. A renewed “theory of formativity” (Pareyson)1 styles a knowledge that is generated by a constantly transforming process of “making,” in which methodologies, theoriesand learnings arise within the actions of designing and building, and mostly because of the making. Following the etymology of the Greek world2, this making could be understood as poetic way of actively participating to the changes of our environment. If we look carefully, this approach to structure the knowledge has been deeply rooted in the history and legacy of the most relevant architects and designers, as ontological condition imbedded also into the idea of progress. We have been witnessing several experimentations that have been capable of bringing theoretical explorations, such as the ones from the fields of philosophy and literature, into the realm of design and space making. These explorations reach various degrees of quality, but nevertheless they provide openings to further interesting discussions. An example of this sort could be among others, the collaboration between Eisenman and Derrida for the design proposal for Parc de la Villette in Paris of 19873, where the memory of the proposals for Cannaregio in Venice or the project “Romeo and Juliet” in Verona, are considered within the philosophical background of the criticism to the structuralism, and the projection towards a horizon of deconstruction. This concept migrated from the realm of thinking, to the one of designing and form making, in its highest sense, giving strength to role and identity within the field of architecture, of the idea of “fragment” and “text” often interrupted, following Lyotard’s suggestion4, as expression of the post-modern dimension.
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VUKIC, Fedja. "Art criticism and the semantic construction of the concept of Design." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-109.

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Li, Ying. "Conspectus of Bridge Criticism." In IABSE Congress, Stockholm 2016: Challenges in Design and Construction of an Innovative and Sustainable Built Environment. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2016. http://dx.doi.org/10.2749/stockholm.2016.0742.

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The study on bridge criticism is an interdisciplinary research of the theory of bridge engineering, architectural criticism, art criticism and bridge aesthetics. It is an important part of design theory of bridges. Generally speaking, bridge criticism is the identification and evaluation of creative thoughts of bridges, the design of bridges, the process of bridge construction and service, and the social individual and public using of bridges. This research focuses on the forming process, operating model, characteristics and value of bridge criticism. The main research contents include axiology, subjectivity theory, semiotics and methodology of bridge criticism. Based on theories of bridge criticism, this paper comes up with an evaluation method of urban bridges.
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xiaodong, Wang. "Cost and Value: Based on the “Theory of Practice” Design Criticism Behavior." In 6th International Conference on Humanities and Social Science Research (ICHSSR 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200428.015.

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Shams, M. "Reservoir Simulation Assisted History Matching: From Theory to Design." In SPE Kingdom of Saudi Arabia Annual Technical Symposium and Exhibition. Society of Petroleum Engineers, 2016. http://dx.doi.org/10.2118/182808-ms.

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Atkinson, Harriet, and Maya Rae Oppenheimer. "Introduction: Design Research – History, Theory, Practice: Histories for Future - Focused Thinking." In Design Research Society Conference 2016. Design Research Society, 2016. http://dx.doi.org/10.21606/drs.2016.510.

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KAMAMOTO, Mayu. "Alvar Aalto and the theory of play: Through analysis on Alvar Aalto’s furniture design." In 10th International Conference on Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-04_007.

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Reports on the topic "Design history, theory and criticism"

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Carty, Anthony, and Jing Gu. Theory and Practice in China’s Approaches to Multilateralism and Critical Reflections on the Western ‘Rules-Based International Order’. Institute of Development Studies (IDS), October 2021. http://dx.doi.org/10.19088/ids.2021.057.

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China is the subject of Western criticism for its supposed disregard of the rules-based international order. Such a charge implies that China is unilateralist. The aim in this study is to explain how China does in fact have a multilateral approach to international relations. China’s core idea of a community of shared future of humanity shows that it is aware of the need for a universal foundation for world order. The Research Report focuses on explaining the Chinese approach to multilateralism from its own internal perspective, with Chinese philosophy and history shaping its view of the nature of rules, rights, law, and of institutions which should shape relationships. A number of case studies show how the Chinese perspectives are implemented, such as with regards to development finance, infrastructure projects (especially the Belt and Road Initiative), shaping new international organisations (such as the Asian Infrastructure Investment Bank), climate change, cyber-regulation and Chinese participation in the United Nations in the field of human rights and peacekeeping. Looking at critical Western opinion of this activity, we find speculation around Chinese motives. This is why a major emphasis is placed on a hermeneutic approach to China which explains how it sees its intentions. The heart of the Research Report is an exploration of the underlying Chinese philosophy of rulemaking, undertaken in a comparative perspective to show how far it resembles or differs from the Western philosophy of rulemaking.
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