An Introduction to Design and Culture

Sparke, Penny

doi:10.4324/9780203129999

Cited by 42 publications

(33 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…[10] Долазећи конзу-менти који теже добром, јединственом и различитом су очигледно стигли у војну хотелијерску индустрију. [11] Интернационални хотелски ланци су окарактерисани као претња војним туристичким дестинацијама зато што доносе стандардизовани дизајн и смањују атрактивност дестинација умањујући њихову уникатност.…”

Section: значај и улога дизајна у брендирању војних хотелских производаunclassified

Dizajniranje vojnih hotelskih enterijera

Krsmanovic-Velickovic¹,

Velickovic²

2017

Vojno delo

View full text Add to dashboard Cite

Универзитет "Унион -Никола Тесла", Факултет за спорт, Београд Предраг Д. Величковић Jefferson Institute, Београд уризам као део глобалног система мора да, градећи свој спе-цифичан друштвени подсистем, структуру односа и институ-ција, као и визуелни (дизајнерски) израз, води рачуна о две чиње-нице: 1) да реагује и одговори на промене у потребама потенцијалних потрошача проистекле из промена у друштвеном развоју, стандарду, тржишту, начину и стиловима живота под утицајем образовања и ин-формисања; 2) да буде економски одржив и еколошки одговоран у од-носу на власнике капитала, очување природе и животне средине и културна достигнућа цивилизације.Војна делатност, такође део глобалног друштвеног система сваке др-жаве, у оквиру сопствене инфраструктуре поседује хотелске објекте који морају да поседују стандарде градње, услуга, технолошке, еколошке и економске одрживости. Сем специфичних услуга, војни хотели морају за-довољавати потребе потенцијалних потрошача које проистичу из систе-ма друштвеног развоја, њиховог стандарда, укуса, образовања и инфор-мисања.Дизајнирање војних хотелских ентеријера исказује се као уметничко-технолошки задатак и циљ за произвођаче услуга, маркетиншко средство за сегментирање, позиционирање, реструктурирање, тј. диференцирање хотелских производа и као визуелно средство за задовољење потреба ту-риста у конкурентској борби за њихово тржишно освајање, уз специфична ограничења (нпр. безбедносна) која важе за војне објекте.Кључне речи : туризам, војска, дизајн, хотелијерство, новоград-ња, редизајн Увод ојни хотелски објекти детерминисани су законском регулативом која се односи на активност одбране државе, као и подзаконским актима којима се регулишу појединачни сегменти ове организације. С обзиром на то да је данас у свету тенденција да се војна делатност са својом инфраструктуром што

show abstract

Section: значај и улога дизајна у брендирању војних хотелских производаunclassified

Dizajniranje vojnih hotelskih enterijera

Krsmanovic-Velickovic¹,

Velickovic²

2017

Vojno delo

View full text Add to dashboard Cite

show abstract

“…The United States were now represented by corporations culture was making its course with the help of leading industrial designers. Amongst them manufacturer (Sparke, 2004).…”

Section: New York World's Fair 1939 -Corporations As the Representatimentioning

confidence: 99%

“…com, 2010 (Dezeen.com, 2010). Design is nowadays also regularly featured in newspapers and lifestyle magazines, becoming a strong part of our visual culture (Sparke, 2004). Data supporting the magnitude of the while the number of visitors doubled, reaching the considerable amount of 348,000 in 2008 the outskirt of Milan, a myriad of events are held in more than 600 venues spread across the total number is more than 500,000 (Balduini et al, 2013).…”

Section: The Current Situation -Designing For the Mediamentioning

confidence: 99%

“…The presence of design in these contexts and the continuous growth of design events and media hint at a complex industry that functions according to different criteria than the ones of the traditional product design industry (Innella et al, 2012). Such a shift has cemented design as part of our visual culture, thus allowing design to enter directly the cultural industry before even passing through the production industry (Franzato, 2011;Sparke, 2004). The designs we admire in the exhibitions and media are cultural products; they are the result of a process and part of a trade.…”

mentioning

confidence: 99%

See 1 more Smart Citation

The Commodity of Trade in Contemporary Design

Innella

Rodgers

2017

The Design Journal

View full text Add to dashboard Cite

This research explores the intersection between the design industry and the ubiquitous media and events industry, focusing on the context of design characterized by limited editions and one-off artefacts. The increasingly growing manifestation of this type of design in the media -and the media in design -has an impact on the way certain designers conceive and practice their profession, and on the design industry as a whole. The aim of this PhD is to provide an understanding of such impact. In doing so, this thesis answers the main question: What commodities (intended as the ensemble of goods, values, competencies and services) are traded in the contemporary design industry and by whom?As a result, this research expands the notion of the design process beyond the artefact, highlighting the role that its representation in the media and events has in the process. the audience and the level of status; it is quantity and quality at the same time. To express this besides visibility.In fact, reputation and visibility emerge as central commodities for trade. As visibility and reputation are the fuel that feeds the contemporary design industry, then the power of the witnesses the way actors conventionally belonging to the media industry are now able to commission new content to feature in their publications and events and monetize from this. The thesis concludes with the observation that some designers are also starting to monetize from their presence in exhibitions, by demanding loan and participation fees. Conclusively, this thesis critically highlights the need to reconsider the roles of each actor involved in the design industry according to the trade of such immaterial commodities.

show abstract

“…They try to update the design language according to the challenges and requirements of the era. These challenges and requirements come from technology, aesthetics, economy, politics and culture as well [11]." Therefore, when industrial production and its aesthetics and attributes are popular as the opposite side of handcraft, the uniqueness, aesthetic perception and human nature of handcraft fully experience the cold treatment.…”

Section: B the Road With Twists And Turnsmentioning

confidence: 99%

Research on Influence of Handicraft in Design History from the Diagrammatic Perspective

Fu¹

2015

Proceedings of the 2015 International Conference on Arts, Design and Contemporary Education

View full text Add to dashboard Cite

Abstract-Handicraft had gone from domination to the challenge of industrialization throughout the design development process and then it had been risen again after revolt. From domination to the challenge of industrialization throughout the design development process, handicraft had risen again after decline. Meanwhile, the influence of handicraft had changed along with a variety of factors. The development of design was analyzed according to the influence of handicraft based on its concept and characteristics in this paper. The change of influence of design, and its reasons were analyzed by Diagrammatic method. It is indicated that the key factors are industrialization and commercialization, and the essential factors are human values and human needs.

show abstract

An Introduction to Design and Culture

Cited by 42 publications

References 0 publications

Dizajniranje vojnih hotelskih enterijera

Dizajniranje vojnih hotelskih enterijera

The Commodity of Trade in Contemporary Design

Research on Influence of Handicraft in Design History from the Diagrammatic Perspective

Contact Info

Product

Resources

About