DSDN171:
design in context
≠
history of design history of styles
“The narra;ve historian always has the privilege of deciding that con;nuity cuts beAer into certain lengths than into others. He never is required to defend his cut, because history cuts anywhere with equal ease, and a good story can begin anywhere the teller chooses.” George Kubler, The Shape of Time: Remarks on the History of Things (New Haven: Yale University Press, 1962), 2.
history of design ≠ history of styles A.W.N Pugin and Gothic Revival [Reform]: 1840s
history of design ≠ history of styles English Arts and Cra\s Movement: 1870s-‐90s
history of design ≠ history of styles Art Nouveau: 1890s
history of design ≠ history of styles Vienna Secession and Wiener WerkstäAe: 1900-‐10s
history of design ≠ history of styles Art Moderne/ Art Deco: 1920s
history of design ≠ history of styles Modernism and the Bauhaus: 1920s-‐30s
history of design ≠ history of styles Interna;onal Style: 1940s
history of design ≠ history of styles Organic modernism: 1950s
history of design ≠ history of styles Pop [psychotropic design] : 1960-‐70s
history of design ≠ history of styles Post modernism: 1970s -‐80s
history of design ≠ history of styles contemporary plurality [polyvalent design]: 2000 -‐ ??
=
history of design issues + ideas
↵
nature beauty utility class taste ornament crime animal bowls, Hella Jongerius, 2004
politics display consumerism industrialisation modernity nationalism
UK Seed Paviliion, Heatherwick Studio 2010 Shanghai Expo
vision panorama spectacle space duration photography film
Figure Hopping, series of photographs by Eadweard Muybridge, 1887
"It is the relationship among things--rather than the things themselves--that gives objects their identities. Though we tend to regard them as having stable and enduring characteristics, the determination of 'thingness' is more a matter of groupings and classifications than it is a consequence of inherent material properties. Keith Mitnick, Ar7ficial Light: a narra7ve inquiry into the nature of abstrac7on, immediacy and other architectural fic7ons (New York: Princeton Architectural Press, 2008), 42.
DSDN171: design ideas in context + core, 15 points + lecture, Wed. 16.40-18.00, weekly + tutorials, 60 mins, weekly, Thurs. or Friday + assessments: written tests x 2 blog assignments x 10 tutorial participation
= 40% final grade = 50% final grade = 10% final grade
DSDN171: design ideas in context learning objectives
+ formulate original and critical perspectives addressing key historical and contemporary design issues
+ demonstrate understanding of the relationships between design and broader social and cultural contexts
+ negotiate ideas in critical response to design practice̶socially, culturally, economically, ecologically, and politically
+ recognise key ideas and reoccurring themes in the history of
design and be able to contextualise their impact on practice today
DSDN171: design ideas in context learning objectives [abilities]
+ pursue independent research on specific topics of interest and relevance
+ flexibility and competence with both written and visual media in critical research and analysis
+ compose an essay, with a clear argument and scholarly evidence addressing design related issues
+ ability to successfully manage time and work load
Margaret Maile Petty margaret.petty@vuw.ac.nz
Buj+Col贸n Arquitectos , pharmacy, Palencia, Spain
Course Coordinator:
Tutors: Anton Berndt Nan O Sullivan Craig Johnson Jason Petty
[streams A+B] [streams C+D] [streams E+F] [streams G+H]
course blog:
www.designideasincontext.blogspot.com
blog assignment 1 due: 18.00, Friday, 16 July
brief:
+ create or activate a personal blog for DSDN171 on blogspot, tumblr, etc. [your choice] + post an entry describing an example of design that you think is important  + in 50 words or less describe why you think it is important + on or before the 18.00 Friday deadline, send an email to margaret.petty@vuw.ac.nz with the following: 1. your full name and student ID 2. tutor s name and stream 3. a link to your blog with assignment 1 posted