“Design is not a Science”: Otl Aicher's Constitutional Putsch at the HfG Ulm and His Credo for the Social Responsibility of Designers

Spitz, René A.

doi:10.1162/desi_a_00304

Cited by 4 publications

(4 citation statements)

References 1 publication

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Before embarking on each design, designers must make accurate ethical judgments regarding the tasks they face. This involves comprehensively balancing the pros and cons of design activities on society [5].…”

Section: Designers Must Uphold Correct Values and A Sense Of Responsi...mentioning

confidence: 99%

An analysis of the responsibilities of environmental designers based on sustainable development

Shi,

Fang

2023

JFSNH

View full text Add to dashboard Cite

As a newly emerging developing country, China's rapid economic growth has propelled the urbanization process, necessitating continuous adaptation of the entire societal environment. However, without robust legal and regulatory constraints and without rational comprehensive planning and technical guidance, the most significant risk posed is the severe destruction of natural resources and the living environment. The design works created by environmental art designers permeate every corner of our lives, and as a result, these designers bear a greater societal responsibility.

show abstract

Section: Designers Must Uphold Correct Values and A Sense Of Responsi...mentioning

confidence: 99%

An analysis of the responsibilities of environmental designers based on sustainable development

Shi,

Fang

2023

JFSNH

View full text Add to dashboard Cite

show abstract

“…Thus, in design, personal and professional responsibility includes ethical decision-making, sustainability and social responsibility. Spitz (2015) emphasizes that constructs such as social responsibility, are expressed in the idea of the moral dimension inherent in design. In this sense, the designer must contribute to a positive impact on society through design (Christensen 2014).…”

Section: Responsibilitymentioning

confidence: 99%

Designers’ professional identity: personal attributes and design skills

Kunrath

Cash

Kleinsmann

2020

Journal of Engineering Design

View full text Add to dashboard Cite

General rightsCopyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Users may download and print one copy of any publication from the public portal for the purpose of private study or research.  You may not further distribute the material or use it for any profit-making activity or commercial gain  You may freely distribute the URL identifying the publication in the public portal If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim.

show abstract

“…38 This division became the source of a bitter political dispute, involving, moreover, students on both sides of the 'debate'. 39 Nonetheless, there was an attempt made by most Ulmers to capture the multidisciplinary research areas appropriate to a reformulated concept of industrial design under the notion of 'environment'. This concept is much easier to understand in German, where environment is 'Umwelt', the surrounding world in which one is immersed and which the designer attempts to 'shape', 'Umweltgestaltung'.…”

Section: Ulm and Bauhausmentioning

confidence: 99%

Ulm Aesthetics

Holt

2019

Journal of Design History

View full text Add to dashboard Cite

Abstract In order to contribute to the widening and enriching of the notion of aesthetics as it applies to design and so to the historian’s task in this field, this essay examines the theories of aesthetics promulgated at the Hochschule für Gestaltung at Ulm (1953–1968), still a much-understudied institution. In particular, it will investigate the confluence at that school of semiotics and semantics, information aesthetics, and experimental aesthetics. It looks at the break Ulm made with its predecessor, the Bauhaus, on the role of art and aesthetics in design. That break is seen as result of the HfG’s re-evaluation of the profile and substance of industrial design, a re-evaluation itself contingent on an updated understanding of the contemporary ‘environment’ (Umwelt). The article also examines the key aesthetic theories of the figures who passed through Ulm and shaped its curriculum in order to establish the influence of those figures on the wider history of design.

show abstract

“Design is not a Science”: Otl Aicher's Constitutional Putsch at the HfG Ulm and His Credo for the Social Responsibility of Designers

Cited by 4 publications

References 1 publication

An analysis of the responsibilities of environmental designers based on sustainable development

An analysis of the responsibilities of environmental designers based on sustainable development

Designers’ professional identity: personal attributes and design skills

Ulm Aesthetics

Contact Info

Product

Resources

About