Design History and Theory Research Papers - Academia.edu

Design History and Theory Research Papers - Academia.edu
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Design History and Theory
Design History and Theory
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About this topic
Design History and Theory is the study of the evolution, context, and cultural significance of design practices and artifacts. It examines the theoretical frameworks, methodologies, and historical narratives that shape design disciplines, exploring how social, political, and technological factors influence design processes and outcomes throughout history.
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About this topic
Design History and Theory is the study of the evolution, context, and cultural significance of design practices and artifacts. It examines the theoretical frameworks, methodologies, and historical narratives that shape design disciplines, exploring how social, political, and technological factors influence design processes and outcomes throughout history.
Key research themes
1. How can design theories be scientifically validated to improve coherence and effectiveness in design research?
This theme explores the epistemological foundations and methodological rigor in design research, focusing on how design theories and models can attain scientific status through systematic observation, formulation, and critical testing. It addresses prevailing concerns about the proliferation of untested design theories and proposes the adoption of scientific methods including falsification to enhance the robustness and discipline-wide coherence of design research.
Design Theories, Models and Their Testing: On the Scientific Status of Design Research
by
Pieter Vermaas
2016
Key finding: Proposes a typology of design theories based on descriptive, demarcating, and prescriptive aims and argues that design theories and models can meet traditional scientific standards by incorporating rigorous testing...
Key finding: Proposes a typology of design theories based on descriptive, demarcating, and prescriptive aims and argues that design theories and models can meet traditional scientific standards by incorporating rigorous testing strategies. Specifically, the paper advocates adopting philosophical methodologies from natural sciences—moving beyond mere validation toward falsification and Lakatosian research programs—to effectively test, refute, and refine design theories, thereby improving their epistemic status and coherence within design research.
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2. What role does socio-cultural context play in the interpretation and consumption of design objects, specifically in relation to social identity and conspicuous consumption?
This theme investigates the intersection of design history, social theory, and cultural identity, emphasizing how design objects—such as furniture—mediate complex social dynamics, including class distinctions and identity formation. It foregrounds the consumption of design within domestic settings as performative acts that reflect and reinforce social hierarchies, using historical case studies to challenge production-centered narratives by focusing on consumption, use, and symbolism.
Conspicuous Consumption in the Prairie House
by
Joanna Merwood-Salisbury
2025, Journal of Design History
Key finding: Through a Veblenian analysis of Frank Lloyd Wright's highbacked dining chairs in the Susan Lawrence Dana House, the paper reveals that these iconic design objects functioned simultaneously as advertisements for industrial...
Key finding: Through a Veblenian analysis of Frank Lloyd Wright's highbacked dining chairs in the Susan Lawrence Dana House, the paper reveals that these iconic design objects functioned simultaneously as advertisements for industrial production and as luxury items signaling social distinction within domestic spaces. This study shifts the analytical lens from production to consumption and connects Wright’s organic design philosophy with social theories of conspicuous consumption, demonstrating how design materially embodies and enacts class relations and cultural identity.
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3. How can interdisciplinary and experimental methodologies enrich the historiography and teaching of design history to foster critical historical thinking and student agency?
Focused on pedagogical innovation, this theme examines alternative approaches to design history education that move beyond rote knowledge accumulation towards dialogic, speculative, and counterfactual history-making. It emphasizes the co-construction of historical narratives by educators and students, using methods such as ‘what-if’ scenarios and critical reversals (e.g., reimagining historical figures with altered identities) to cultivate students’ critical awareness of historiography and empower them to actively engage with history as a dynamic, constructed discourse.
What if Walter Gropius were a Woman: Alternative Design History Teaching Experiment
by
Li Zhang
2024, International Journal of Art & Design Education
Key finding: Introduces a novel pedagogical method in design history that uses counterfactual histories by reversing or altering historical factors such as gender to stimulate students’ critical thinking about historiography. This method...
Key finding: Introduces a novel pedagogical method in design history that uses counterfactual histories by reversing or altering historical factors such as gender to stimulate students’ critical thinking about historiography. This method fosters student agency by enabling learners to distinguish between historical facts and constructed narratives, thus encouraging a deeper understanding of the subjectivity inherent in historical discourse and enhancing their capacity for resilient, self-reflective historical inquiry.
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4. How do spatial practices and representations, like mapping and photography, function as mediators of 'truth' and meaning in design history and architectural discourse?
This theme juxtaposes critical theoretical analyses of spatial representations—maps and photographic images—as constructed apparatuses that shape, rather than neutrally record, architectural and design realities. It highlights the ontological limitations and performative effects of such media in perpetuating particular narratives and 'truths' about space, design objects, and heritage, and interrogates methodologies that challenge or expand beyond traditional representational norms to recast design interpretation and historiography.
Questioning Mapping as a Substrate of Architectural Truth
by
Aristotelis Kaleris
2025, COTAA
Key finding: Demonstrates that architectural maps, traditionally seen as neutral carriers of objective spatial truth, are in fact mediated and constructed through specific apparatuses that frame what is considered true about a place. The...
Key finding: Demonstrates that architectural maps, traditionally seen as neutral carriers of objective spatial truth, are in fact mediated and constructed through specific apparatuses that frame what is considered true about a place. The paper’s case study on Strefi Hill in Athens employs shifts between different mapping methods to expose biases and provoke new architectural interventions, advocating for a perspectival and ontological approach to mapping that acknowledges inherent selectivity and challenges the pursuit of a 'complete' or 'better' map.
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TheValueSystemOfObjectsThroughTheInterpretationOfPhotographicLanguage 2023 - Copia
by
Paola Proverbio
2024, Zanella, F., et al. Multidisciplinary Aspects of Design. Design! OPEN 2022. Springer Series in Design and Innovation , vol 37. Springer, Cham.
Key finding: Argues that photography transcends mere representation by actively constructing the identity and cultural meaning of design objects through visual narrative. Analyzing cases like Aldo Ballo’s photographic works for Italian...
Key finding: Argues that photography transcends mere representation by actively constructing the identity and cultural meaning of design objects through visual narrative. Analyzing cases like Aldo Ballo’s photographic works for Italian industrial design, the paper shows how photographic language interprets and communicates not only the formal and functional qualities of objects but also their symbolic and socio-cultural values, thus functioning as an essential component in the historicization and reception of design.
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Related Topics
Design History
Design Theory
History of Design
Design
Design education
History of Industrial Design
Graphic design history
Philosophy of Design
Industrial Design
Design Theory and Philosophy
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ROLES Y ESTEREOTIPOS DE GÉNERO EN LA ELECCIÓN Y EJERCICIO DE LA LICENCIATURA DE DISEÑO DE MODAS EN SINALOA, MÉXICO
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Erika Cecilia Montoya Zavala
2026, Revista Electrónica Desafíos Educativos
El objetivo de este artículo es analizar los roles y estereotipos de género en la elección y ejercicio de la licenciatura de diseño de modas en el contexto del estado de Sinaloa, desde una perspectiva de las desigualdades estructurales de...
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El objetivo de este artículo es analizar los roles y estereotipos de género en la elección y ejercicio de la licenciatura de diseño de modas en el contexto del estado de Sinaloa, desde una perspectiva de las desigualdades estructurales de las mujeres frente a los hombres y personas homosexuales. La pregunta que guía esta investigación es ¿Cuáles son los estereotipos de género que prevalecen en la elección y ejercicio de la profesión de diseño de modas? Se utiliza una metodología cualitativa con base en entrevistas semiestructuradas a diseñadoras y diseñadores de moda en Sinaloa. Se utiliza el software ATLAS.ti (versión 24.1.1) para codificar y analizar, con un enfoque deductivo, los códigos: historias de vida y experiencias personales, estereotipos de género de la profesión, el surgimiento de la idea de ser diseñador-a, rechazos y apoyos familiares y retos y problemas profesionales. El estereotipo de género que encaran hombres y mujeres al elegir estudiar diseño de moda es la idea generalizada de que ésta no es una profesión, ya que se relaciona con el oficio de costureras, el cual es tradicionalmente aprendido en casa y transmitido de generación a generación. Además, las mujeres al ejercer la profesión enfrentan la idea de que seguirán asumiendo labores no remunerativas de cuidado en el hogar, lo cual está presente, les dificulta el camino para lograr sus metas profesionales y fomenta la desigualdad de género frente a los hombres y personas de diversidades sexogenéricas.
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"The Throne" in the Context of Iconic Chairs in Art and Design History A Comparison between the "Post-Perception" Icon and 20th-Century Masterpieces: Positioning and Contribution
by
ibrahim shalabi
2026
"The Throne" in the Context of Iconic Chairs in Art and Design History
A Comparison between the "Post-Perception" Icon and 20th-Century Masterpieces: Positioning and Contribution
I. Early Modernist Chairs
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N. M. Tarabukin on Composition in Art. Part 1
by
Alexey Dunaev
2026
The article presents the first and the beginning of the second part of N. M. Tarabukin's unpublished research on the latest version of 1944-1945 and fragments of 1933-1934. In the first part, the author systematizes various ways of...
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The article presents the first and the beginning of the second part of N. M. Tarabukin's unpublished research on the latest version of 1944-1945 and fragments of 1933-1934. In the first part, the author systematizes various ways of organizing the composition, in the second he analyzes selected art monuments (this article publishes chapters related to the Ancient World and the Middle Ages). According to Tarabukin, "all the pictorial elements of a painting can be perceived from the perspective of 1) volume, 2) density, 3) weight, 4) tempo, 5) direction of movement, and 6) rhythm. The composition plays the role of an organizing force, bringing the multiplicity of elements to stylistic unity." The scientist identifies the following types of composition: according to the general principle (organic and mechanistic, subordinated and coordinated, inductive and deductive); according to the temporal moment (static and dynamic, motor and visualcontemplative, simultaneous and successive, prolonged and instantaneous, montage and ordinary), according to the organization of spatial elements of the picture (closed/concentric and torn/eccentric, frontal and deep, focal and diffuse, single-part and multi-part), according to the structure (triangle, circle, square, cross, spiral; symmetrical and asymmetrical; vertical, horizontal and diagonal). In the preface, Tarabukin's theory of composition is compared with the views of other scientists to clarify the specifics and originality of the art critic's approach to the subject under consideration. The history of the monograph's creation is complemented by Appendices. KEYWORDS Nikolai Mikhailovich Tarabukin (1889-1956), theory of painting composition, analysis of the composition of art monuments.
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Design Studies in Crisis: A (too late) Conversation
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cameron tonkinwise
2026, The National Grid
Long replies to questions from Luke Wood concerning
- the nature of Design Studies
- the state of Design Education
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An Enactive Theory Model of Design Thinking - Mar. 2026
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Jerry Diethelm
2026
Enactive making in design thinking in an ontology of knowing, making and believing. The relational characterizing of situational information. Design thinking as mediated memory and imagination. The workplace of extended mind. The that,...
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Enactive making in design thinking in an ontology of knowing, making and believing. The relational characterizing of situational information.  Design thinking as mediated memory and imagination.  The workplace of extended mind.  The that, how and what of mediated thinking.  Valuing and meaning in the reflective practice of situational transformation and creation.
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Lotus Marathon programma
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Alessandro Gabbianelli
2026
Nell'attraversare i paesaggi che ci circondano, sentiamo che lo scarto fra quella che abbiamo considerato la loro legittima rappresentazione e ciò che essi stanno effettivamente diventando è aumentato, creando lo spazio di un'attesa di...
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Nell'attraversare i paesaggi che ci circondano, sentiamo che lo scarto fra quella che abbiamo considerato la loro legittima rappresentazione e ciò che essi stanno effettivamente diventando è aumentato, creando lo spazio di un'attesa di nuove immagini-immagini non tanto 'realistiche' quanto semplicemente accordate al tono fondamentale dell'epoca".
Lotus international 164 Manufactured Altered Landscape
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LA NUEVA OSCURIDAD
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Gabriel Sarando
2026
El arte en la era de la postverdad
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LABORATORIO NOMADE DI COMUNITÀ - Design partecipativo alla 18ª Mostra Internazionale di Architettura di Venezia
by
Anna Guerra
2026, Design Plurale. Casi e modelli alternativi per l’innovazione - ATTI CONFERENZA NAZIONALE SID SOCIETÀ ITALIANA DI DESIGN, NAPOLI 26/27 Giugno 2025
Il contributo esplora il ruolo del design di comunità come parte del progetto di ricerca Laboratorio Nomade di Comunità realizzato nel contesto della Partecipazione Nazionale della Repubblica di San Marino alla 18ª Mostra Internazionale...
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Il contributo esplora il ruolo del design di comunità come parte del progetto di ricerca Laboratorio Nomade di Comunità realizzato nel contesto della Partecipazione Nazionale della Repubblica di San Marino alla 18ª Mostra Internazionale di Architettura alla Biennale di Venezia. All’interno di una visione che pone al centro la comunità, il design strategico, sistemico, transdisciplinare e ibrido diventa strumento di innovazione sociale e sviluppo sostenibile, favorendo l’autodeterminazione delle comunità locali. L’opportunità di riflessione su quanto realizzato è coadiuvata dall’applicazione di metodologie di valutazione derivate
da sistemi di classificazione qualitativa degli impatti progettati nell’Università di Delft da un noto gruppo di ricerca. Il Padiglione sammarinese, allestito nella Fucina del Futuro a San Lorenzo nel sestiere di Castello, si pone in antitesi all’approccio espositivo tradizionale, in cui l’utente è spesso attore passivo, trasformando gli spazi di esposizione in una macchina organica e dinamica di attivazione culturale e sociale, volta a coinvolgere cittadini, bambini e anziani, designer e ricercatori in attività partecipative, incontri, confronti e workshop. L’approccio metodologico
integra in un unico e articolato ecosistema d’intervento lo studio e il confronto con la popolazione residente e di passaggio, l’analisi relativa alla creazione di valore, la critica agli impatti dei progetti su più livelli e il grado di coinvolgimento delle comunità coinvolte. L’articolo qui proposto evidenzia il ruolo del design come agente di mediazione tra individui e territorio, rafforzando il legame tra comunità residente, temporanea e accademica. Questa esperienza pone le basi teoriche e pratiche per interventi strutturali a medio e lungo termine, suggerendo nuove
prospettive per il design di comunità all’interno di grandi eventi internazionali, superando una mera logica curatoriale espositiva per generare processi partecipativi e duraturi. La narrazione che qui si illustra evidenzia la necessità, finalizzata alla valutazione degli impatti, di una fase strumentale di monitoraggio per valutare l’efficacia degli interventi nel tempo.
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Vonattal a magyar Riviérára - Utazás a régi Magyarországon
by
Antal Fejes
2026, Vasutas Magazin
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Frederick Kiesler: Vision Machines
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Ruo Jia
2026, Journal of the Society of Architectural Historians
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ТВОРЧЕСТВО ОЛЬГИ РОЗАНОВОЙ В РАЗВИТИИ РУССКОЙ ФУТУРИСТИЧЕСКОЙ КНИГИ В 1913–1916 гг.
by
Татьяна Ардальянова
2026, Ардальянова, Татьяна Евгеньевна
The article examines the collaboration between Olga Vladimirovna Rozanova and Alexei Eliseevich Kruchenykh within the context of the development of the Russian Futurist book in the 1910s. It analyzes Rozanova’s contribution to the...
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The article examines the collaboration between Olga Vladimirovna Rozanova and Alexei Eliseevich Kruchenykh within the context of the development of the Russian Futurist book in the 1910s. It analyzes Rozanova’s contribution to the formation of a synthetic book space in which word and image function as equal elements of an integrated artistic whole. Particular attention is given to the editions Bukh lesiny (1913), A Game in Hell (1914), and Transrational Boox (1915/1916), which demonstrate the evolution of Rozanova’s artistic language—from the reinterpretation of Rayonist and Neo-Primitivist influences to the development of an independent Futurist visual idiom grounded in dynamism, displacement, and an active engagement with color and materiality.
The article explores her graphic strategies, including lithography, handwritten text, collage, and linocut, as well as the motif of playing cards as a significant element of her visual system. It emphasizes the innovative nature of Rozanova’s book practice, in which the traditional concept of illustration is dismantled and the book is conceived as a unified art object. The study concludes by highlighting the importance of this collaboration for the development of the Russian avant-garde and affirming Rozanova’s role as one of the key figures of the Futurist movement.
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Mr. Marshall viene a casa. La escenografía de la modernidad americana en el tiempo del desarrollismo español
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Carmen Rodriguez Pedret
2026
La comunicacion que se presenta reconstruye la recepcion en nuestro pais del imaginario de la vida moderna generado por la iconografia domestica norteamericana. Se analizaran representaciones provenientes de los medios de masas...
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La comunicacion que se presenta reconstruye la recepcion en nuestro pais del imaginario de la vida moderna generado por la iconografia domestica norteamericana. Se analizaran representaciones provenientes de los medios de masas -especialmente de la publicidad, pero tambien de otras fuentes de impacto audiovisual- que nutren las esperanzas de progreso en la primera edad del consumo. Ilusiones y ficciones de modernidad para interpretar como la mitologia del "american way of life" construye la escenografia de lo inmediatamente posible en el parco panorama de la vida cotidiana espanola.
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Recensión
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MICHELLE BERMÚDEZ PADRÓN
2026
Para esta recensión se utiliza el libro El Diseño desde 1945 del historiador británico Peter Dormer, donde explora tópicos actuales como la implementación de la tecnología como complemento del artista. Por otro lado se utiliza el ensayo...
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Para esta recensión se utiliza el libro El Diseño desde 1945 del historiador británico Peter Dormer, donde explora tópicos actuales como la implementación de la tecnología como complemento del artista. Por otro lado se utiliza el ensayo Lo Funcional y lo Funcionalista, de Isabel Campi, donde incide en el funcionalismo como estética y su distinción de lo funcional. Para comenzar, Dormer nos habla de la importancia de valorar las prácticas culturales y conocimientos que se han transmitido a lo largo de la historia pues, si bien el oficio de diseñador es algo que se consolida en 1945, el papel lleva existiendo y poniéndose en práctica desde hace más tiempo del que existe el verbo, a través de los artesanos, a través de los pensadores. Desde los primeros artesanos de utensilios, los primeros cajistas, hasta los diseños de William Morris y en adelante, todo gracias al pensamiento de diferentes artistas que permite crear distintas estéticas y productos únicos, no por su autor, sino por su técnica. Sin embargo, con el avance de la tecnología y la industria el papel del artista muta a una nueva posición: El pensador.
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Navigating Design History with a More Culturally Calibrated Compass
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Nan O'Sullivan
2026
It seems remiss that while New Zealand’s design prowess continues to impress globally, the indigenous and cultural knowledge that has for centuries inspired and informed aesthetic languages worldwide has not been recognised for its...
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It seems remiss that while New Zealand’s design prowess continues to impress globally, the indigenous and cultural knowledge that has for centuries inspired and informed aesthetic languages worldwide has not been recognised for its contribution. Forgotten, or perhaps conveniently ignored, is the praise of both the New Zealand Māori and Pacific people’s use of nature’s harmonies to achieve beauty in aesthetics made in 1852 by education and aesthetic reformist, Owen Jones (1809 -1874) in his seminal and determinative work, The Grammar of Ornament. In order to reinstate Jones’ claim, this paper asserts it is critical that we revisit design’s history from a less Eurocentric perspective. This offers an opportunity to debunk the counter-claim that indigeneity was counter-productive to the development of modernity. By recalibrating design’s history with a more accurate and culturally orientated compass, the contributions made by indigenous knowledge to the endeavours of some of design hist...
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Book Review: Perriand, Charlotte. Charlotte Perriand: A Life of Creation (New York: The Monacelli Press, 2003) and McLeod, Mary. Charlotte Perriand: An Art of Living (New York: Harry N. Abrams, 2003)
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Daniel Naegele
2026
Although she is often considered one of the 20th century's most renowned women in architecture, Charlotte Perriand (1903 -1999) was not an architectshe regarded herself as an interior designer and took issue with those who thought her...
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Although she is often considered one of the 20th century's most renowned women in architecture, Charlotte Perriand (1903 -1999) was not an architectshe regarded herself as an interior designer and took issue with those who thought her merely a furruture designer. Her best-known interior was a temporary installation that she and Pierre Jeanneret completed while in the atelier of Le Cor busier for the 1929 Paris Salon d'Automne exhibition. In that same year, in collaboration with Le Corbusier and Jeanneret, she designed three chairs: the chaise-longue, grand confort, and fauteuil a dossier basculant. All were essential "equipment" in the 1930s architecture of Le Cor busier, and all are in production today. Disciplines Architectural History and Criticism | Architecture Comments This book Review is from Harvard Design Magazine 24 (2006): 113–117. Posted with permission. This book review is available at Iowa State University Digital Repository:
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Entre la funcionalidad viva y el dogma moderno en el diseño contemporáneo
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Glesie Joyce Eda Cara
2026
Una recensión de El diseño desde 1945 de Peter Dormer y del capítulo «Lo funcional y lo funcionalista» de Isabel Campi. El texto analiza de forma crítica la evolución del diseño moderno y contemporáneo, poniendo en cuestión el discurso...
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Una recensión de El diseño desde 1945 de Peter Dormer y del capítulo «Lo funcional y lo funcionalista» de Isabel Campi. El texto analiza de forma crítica la evolución del diseño moderno y contemporáneo, poniendo en cuestión el discurso funcionalista tradicional.
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Jean Baudrillard, design theorist
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Robin Fuller
2026
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Balatoni képek a Közlekedési Múzeumból. Múzeumcafé 78. p. 119-155.
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Gábor Zsigmond
2026, Balatoni képek a Közlekedési Múzeumból. Múzeumcafé 78. p. 119-155.
A Magyar Műszaki és Közlekedési Múzeum és a Balatoni Hajózási Zrt. (Bahart) tavaly kezdte meg a hajózási vállalatnál őrzött, eddig alig ismert archívum tudományos feldolgozását. A múzeum azt vállalta, hogy a Bahart Siófokon őrzött archív...
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A Magyar Műszaki és Közlekedési Múzeum és a Balatoni Hajózási Zrt. (Bahart) tavaly kezdte meg a hajózási vállalatnál őrzött, eddig alig ismert archívum tudományos feldolgozását. A múzeum azt vállalta, hogy a Bahart Siófokon őrzött archív anyagait átveszi, digitalizálja, katalogizálja, és a kutatók számára hozzáférhetővé teszi. A tekintélyes mennyiségű és korábban soha sehol nem publikált képanyag, nagyrészt fekete-fehér fényképnegatív múzeumi szempontú feldolgozását és kutathatóságát a közlekedési vállalat érhetően nem biztosíthatta, de megőrzését fontosnak tartotta. Az anyag gerince az 1910-es évek eleje és 1945 között készült, és egy fontos hivatal életéhez, a Balatoni Kikötők Magyar Királyi Felügyelőségéhez, annak meghatározó alakjához, Kaáli Nagy Dezsőhöz (1868–1940) és a balatoni turizmus infrastruktúrája kiépítésének első időszakához köthető.
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Post-Disaster Memoryscapes. Architectural Mediums as Practices of Care
by
Gkoliomyti Anastasia
2026, Ardeth. A magazine on the power of the project
This essay enters the Covid-19 pandemic activated discourse in a sympoietic manner by drawing parallels to the architectural response to the 3.11 Disaster in Tohoku, Japan as a lens to reflect on architecture's broader response-ability...
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This essay enters the Covid-19 pandemic activated discourse in a sympoietic manner by drawing parallels to the architectural response to the 3.11 Disaster in Tohoku, Japan as a lens to reflect on architecture's broader response-ability towards matters of human displacement, collective trauma, loss, and memory. It explores the notion of burn-out through the scope of disaster-stricken Japan and the road towards recovery by examining three cases of architectural and curatorial projects to illustrate architectural skills and media -drawing, model-making and fieldwork. All of them were characteristically deployed and instigated community transformation through conversational platforms and trust-building. These platforms are referred to as post-disaster memoryscapes, to illustrate the result of fusing community collaboration with architectural mediums in a distinct ethnographical mode capable of reconciling past, present and future. The paper argues that such ethnographical modes of operating expand architecture's role from a limited sense of building (re)construction, towards the Harawayian notion of sympoietic caring.
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La labor del diseñador: roles cambiantes en el diseño y sus vínculos con el funcionalismo
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Lucía Iglesias Castro
2026, Recensión: El diseño desde 1945. DORMER, PETER y Lo funcional y lo funcionalista en Diseño y nostalgia. El consumo de la historia. CAMPÍ ISABEL.
Al momento de surgir el funcionalismo, la sociedad se encontraba en una búsqueda existencial de una forma ideal de vivir, que condujera a un beneficio común y cimentara unas bases sólidas y estables para el progreso. Es en esta profunda y...
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Al momento de surgir el funcionalismo, la sociedad se encontraba en una búsqueda existencial de una forma ideal de vivir, que condujera a un beneficio común y cimentara unas bases sólidas y estables para el progreso. Es en esta profunda y filosófica gesta, que movimientos como el funcionalismo pasan a convertirse en algo más.
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Megan Brandow-Faller review of Vanishing Vienna
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Frances Tanzer
2026, Journal of Jewish Identities
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Special Issue 'Exploring Situatedness': Part 2
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Stacey Salazar
2026, Art, Design & Communication in Higher Education
This Special Issue of the journal of Art, Design & Communication in Higher Education (ADCHE) is a partnership with the European League of Institutes of the Arts (ELIA), building on the 2023 ELIA Academy, 'Exploring Situatedness'. Through...
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This Special Issue of the journal of Art, Design & Communication in Higher Education (ADCHE) is a partnership with the European League of Institutes of the Arts (ELIA), building on the 2023 ELIA Academy, 'Exploring Situatedness'. Through an international call for manuscripts, individuals working within and beyond the academy were invited to consider the relationship between where an art programme is situated-its place-and what it aspires to offer higher arts education today. Contributors report on educational experiences that intentionally integrate local communities and environments as a primary component of the learning. While 'Part 1' of this issue focused on ideas about 'situatedness' explicitly or implicitly woven through the ELIA conference, 'Part 2' features contributions which explore the theme of situatedness more broadly. This Special Issue of the journal of Art, Design & Communication in Higher Education (ADCHE) comes into being through a partnership with the European League of Institutes of the Arts (ELIA), by building on the 2023 ELIA Academy biannual conference theme 'Exploring Situatedness'.
KEYWORDS situated learning placemaking place-based design education teaching art arts-based research community arts ecological learning
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Línea del Tiempo: Historia del Diseño Gráfico Internacional 1900 - 2000
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Martha P Alcaraz Flores
2026
El material presenta una línea del tiempo visual que recorre los principales acontecimientos históricos, artísticos y tecnológicos que marcaron la evolución del diseño gráfico internacional durante el siglo XX, vinculando movimientos de...
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El material presenta una línea del tiempo visual que recorre los principales acontecimientos históricos, artísticos y tecnológicos que marcaron la evolución del diseño gráfico internacional durante el siglo XX, vinculando movimientos de vanguardia, innovaciones técnicas y obras icónicas. Su principal propósito es ofrecer una visión panorámica que permita al estudiante comprender las interrelaciones entre arte, comunicación y cultura visual, con el objetivo es facilitar el aprendizaje histórico y contextual del diseño gráfico, fortaleciendo la capacidad del alumno para identificar influencias estéticas, tecnológicas y sociales que dieron forma a la profesión del diseño gráfico.
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Parametricism - A New Global Style for Architecture and Urban Design
by
Ionel Grecescu
2026, AD Architectural Design – Digital Cities, Vol 79, No 4, July/August 2009, guest editor: Neil Leach, general editor: Helen Castle
Though parametricism has its roots in the digital animation techniques of the mid-1990s, it has only fully emerged in recent years with the development of advanced parametric design systems. Patrik Schumacher explains why parametricism...
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Though parametricism has its roots in the digital animation techniques of the mid-1990s, it has only fully emerged in recent years with the development of advanced parametric design systems. Patrik Schumacher explains why parametricism has become the dominant, single style for avant-garde practice today and why it is particularly suited to large-scale urbanism as exemplified by a series of competition-winning masterplans by Zaha Hadid Architects.
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Notes de lectura: D’Ors, Eugenio; La civilización en la historia. Madrid: Ediciones Españolas S.A: 1943
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Josep Ma Casasús Rodó
2026
[En català a continuació de l'abstract en anglès] This paper offers a critical analysis of La civilización en la historia (1943) by Eugenio d’Ors, focusing on the so-called “Science of Culture,” presented by the author as a new scientific...
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[En català a continuació de l'abstract en anglès] This paper offers a critical analysis of La civilización en la historia (1943) by Eugenio d’Ors, focusing on the so-called “Science of Culture,” presented by the author as a new scientific discipline. It argues that this purported science does not constitute a rigorous scientific project, but rather an ideological construction aimed at legitimizing a reactionary and imperial conception of history and culture, to which other sciences and theories—especially evolutionism—are subordinated. The numerous reactionary positions present in the text (hereditary monarchy, racism, antisemitism, the justification of slavery, cultural censorship) are not incidental elements, since the very concept of Culture operative in the text is essentially bound up with that of Empire. Finally, the paper proposes a “reading against the grain,” inspired by Walter Benjamin, which opposes d’Ors’s Culture/Empire to the tradition of the oppressed, the rupture of historical continuity, and the idea that every document of culture is also a document of barbarism.
[CATALÀ] Aquest treball analitza críticament La civilización en la historia (1943) d’Eugenio d’Ors, centrant-se en la denominada “Ciència de la cultura”, presentada per l’autor com una nova disciplina científica. S’hi defensa la tesi que aquesta suposada ciència no constitueix un projecte científic rigorós, sinó una construcció ideològica orientada a legitimar una concepció reaccionària i imperial de la història i la cultura, a la qual  s’hi  subordinen les altres ciències i teories—especialment l’evolucionisme.  Els nombrosos posicionaments reaccionaris presents en el text (monarquia hereditària, racisme, antisemitisme, justificació de l’esclavitud, censura cultural) no són elements anecdòtics, car el mateix concepte de Cultura operatiu al text està lligat  essencialment al d’Imperi. Finalment, el treball proposa una lectura “a contrapèl” inspirada en Walter Benjamin, que contraposa a la Cultura/Imperi orsians la tradició dels oprimits, la ruptura del continu històric i la idea que tot document de cultura és també un document de barbàrie.
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„Celé hodiny denně se jako lavina valil do mikrofonů a z přijímače proud jmen.“ Repatriační akce, Československý rozhlas a rok 1945.
by
Tomáš Pánek
2026, In: Svět rozhlasu. Ozvěny druhé světové války. Ed. Ivan Malý. Praha 2025, s. 35–49.
This study examines the involvement of Czechoslovak Radio in the nationwide repatriation campaign of 1945, which aimed to bring back hundreds of thousands of citizens who had found themselves abroad during the Second World War. It...
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This study examines the involvement of Czechoslovak Radio in the nationwide repatriation campaign of 1945, which aimed to bring back hundreds of thousands of citizens who had found themselves abroad during the Second World War. It analyses the role of radio in tracing missing persons, the international context, accompanying charitable campaigns, and the public sympathy that radio garnered among the Czechoslovak population – support it was able to draw upon in its participation in subsequent major social initiatives.
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Changing face of Prespa Local and inter/national initiatives in the context of revival of trilateral Prespa region
by
Meri Stojanova
2026, OMB Scientific Journal- Intersecting Landscapes. Finding New Spatial Visions for the Cross-Border Region of Prespa Lakes and the case of Pustec Municipality - Albania.
The history of the Prespa Region has been long and rich, filled with various cultural, social, and, above all political changes, that largely influenced the life of the local population, which is divided between three neighboring...
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The history of the Prespa Region has been long and rich, filled with various cultural, social, and, above all political changes, that largely influenced the life of the local population, which is divided between three neighboring countries: North Macedonia, Albania and Greece.
Based on the above, Prespa region can be considered a highly sensitive area that evokes various common links between the population in the trilateral region causing significant “political” disparities in many aspects.
However, the initiatives and changes undertaken in the past few decades enabled various re/shaping of each integral part of Prespa. Yet they are based on the national policies of every distinctive country.
Through this paper, I will try to give a short overview of Prespa’s “changing face” through some of the historical and contemporary events and also present some of the national, or bilateral initiatives undertaken within the framework of EU cross border cooperation and other programs.
Archival researches have been conducted to provide necessary information, and comparative analysis of some materials have been done. Much of the data presented is a result of in-depth qualitative ethnographic researches conducted especially about the Macedonian-Albania border, which provided essential and relevant data not only for the past decades and personal experiences, but also for the changes that occurred by the end of the 20th century till nowadays.
The paper also considers a few cross-border projects as case studies to elaborate on the importance of joint actions.
Keywords - Prespa, cross-border cooperation, political changes
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От Ле Корбюзье до Леду: Давид Аркин читает Эмиля Кауфмана
by
Nikolai Molok
2026, Русское искусствознание среди европейских школ: интеллектуальная история и миграция идей
Настоящая статья является частью исследования, посвященного Д.Е. Аркину – одной из самых значимых фигур в советском архитектурном дискурсе 1920–1940-х годов. Его творческая биография подробно изложена в моей статье в сборнике «Русское...
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Настоящая статья является частью исследования, посвященного Д.Е. Аркину – одной из самых значимых фигур в советском архитектурном дискурсе 1920–1940-х годов. Его творческая биография подробно изложена в моей статье в сборнике «Русское искусствознание среди европейских школ: архивные материалы из музейных и библиотечных собраний», подготовленном в рамках IV Сарабьяновского конгресса.
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De la généralisation symbolique de la conception. L’Immeuble-Villas de Le Corbusier vu par la théorie C-K
by
Louis Vitalis
2026
EN : This article examines the epistemological potential of symbolic generalizations in design. The analysis of the Immeuble-villas without formalism supports Le Corbusier's claims to scientificity, while a reading with CK theory reveals...
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EN : This article examines the epistemological potential of symbolic generalizations in design. The analysis of the Immeuble-villas without formalism supports Le Corbusier's claims to scientificity, while a reading with CK theory reveals a hesitant and opportunistic process. This symbolic generalization enables a critical perspective specific to design and opens comparative possibilities between design processes. /// FR : Cet article interroge le potentiel épistémologique des généralisations symboliques en design. L'analyse de l'Immeuble-villas sans formalisme laisse croire aux prétentions de scientificité de Le Corbusier, tandis qu'une lecture avec la théorie C-K révèle un processus hésitant et opportuniste. Cette généralisation permet un regard critique spécifique au design et ouvre des possibilités comparatives entre processus de conception. in Design, Arts, Médias, URL :
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NOTAS SOBRE LOLA CASTELLÓ, PIONERA DEL DISEÑO INDUSTRIAL ESPAÑOL NOTES ON LOLA CASTELLÓ, PIONEER OF SPANISH INDUSTRIAL DESIGN
by
C . Rafael Martínez-Martínez
2026, Inconformistas. Diseño y género
editorial membre de l'UNE, cosa que en garanteix la difusió i comercialització de les obres en els àmbits nacional i internacional.
www.une.es
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Reflections on and in virtual space: Book test unit 2020 at the Royal College of Art
by
Emily Candela
2026
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Los desafíos del cambio : investigación en diseño
by
FRANCISCO GERARDO TOLEDO RAMIREZ
2026
caso de conservación e integración del patrimonio arqui tónico y los espacios abiertos urbanos. 1. Cázares, Laura, et al., Técnicas actuales de investigación documental, p. 15.
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ИТАЛЬЯНСКИЙ НЕОАВАНГАРД И "ТРАДИЦИЯ НОВАТОРСТВА" /

ITALIAN NEOAVANGUARDIA AND “TRADITION OF INNOVATION”
by
Anastasia Golubtsova
2025, Под знаком «нео-»: теория и история ретроспективных течений в литературе Новейшего времени
Статья посвящена развернувшейся в кругах Группы 63 полемике вокруг взаимоотношений неоавангарда и традиции. В качестве источников рассматриваются материалы двух съездов группы (1963 и 1965 гг.), статьи, включенные в первый сборник...
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Статья посвящена развернувшейся в кругах Группы 63 полемике вокруг взаимоотношений неоавангарда и традиции. В качестве источников рассматриваются материалы двух съездов группы (1963 и 1965 гг.), статьи, включенные в первый сборник итальянской неоавангардной поэзии «Новейшие» (1961), теоретические труды, созданные участниками Группы 63 (Л. Анчески, У. Эко, Э. Сангвинети, Дж. Манганелли) и другими исследователями и критиками, близкими к неоавангардным кругам. Большинство рассматриваемых текстов не переведено на русский язык и впервые вводится в отечественный научный оборот. В статье анализируется разработанное в ходе неоавангардных дискуссий понятие «традиции новаторства», рассматриваются взаимоотношения неоавангарда с историческим авангардом, модернизмом, барокко, а также с близкими по времени экспериментальными литературными направлениями (в частности, с «новым романом»). Делается вывод, что повествовательные техники, мотивы и образы, разработанные или актуализированные Группой 63, усваиваются итальянским литературным постмодернизмом и превращаются в новую норму, становясь частью «традиции новаторства».
The article deals with the controversy that has unfolded in “Group 63” circles around the relationship between the Neo-Avant-Garde and tradition. It considers the materials
from two congresses of the group (in 1963 and 1965), articles included in the first collection of Italian Neo-Avant-Garde poetry Novissimi (1961), theoretical works written by the members of “Group 63” (L. Anceschi, U. Eco, E. Sanguineti, G. Manganelli) and other critics close to Neo-Avant-Garde circles. Most of the texts under consideration have not been translated into Russian and are being introduced for the first time. The article analyzes the concept of “tradition of innovation”, developed in the course of Neo-Avant-Garde discussions, and examines the relationship of Neo-Avant-Garde with the historical Avant-Garde, Modernism, Baroque, as well as with experimental literary movements close in time (in particular, with the “New Novel”). It is concluded that the narrative techniques, motifs and images developed or made relevant by the “Group 63” are adopted by Italian literary Postmodernism and transformed into a new norm, becoming part of the “tradition of innovation.”
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