Made in Patriarchy II: Researching (or Re-Searching) Women and Design

Abstract

Reflecting on arguments proposed in the article “Made in Patriarchy” ( Design Issues 1986), this article proposes that by re-viewing and re-searching design through the lens of women's experiences, we can think again about what design means and who does it to understand the potential of design as a vital component of heterogeneous everyday lives.

Appearance Design Method of Ceramic Art Based on VR Visualization Technology

“…Equation ( 12) is obtained by substituting equation (10) into equation (11), and by unitizing the incident ray 00 ′ ,…”

“…e former is the design of the overall ceramic shape, including height, size, and proportion, and the ceramic shape design is considered from an overall perspective; the latter is some parts included in the overall ceramic shape, such as shoulders, mouths, feet, buttons, and abdomen. e design of the partial close-up [11]. Specifically, for the details of a ceramic utensil, such as the handle and the pot flow, which are reflected in the overall ceramic utensils, by better controlling the detail design, the entire utensil will be more aesthetically perfect, making it more perfect.…”

Untitled

“…Fashion's status as a popular and ephemeral form of visual culture means that it is often not archived in traditional ways; further, New Zealand's reputation as a nation of home sewers, and the predominance of women designers operating from home, means that material is housed in varied domestic spaces. This requires a "re-search" of sites of production, and a re-think of how and where design is produced in order to locate material and give visibility to the practices of women designers (Buckley, 2020).…”

“…Adopting an artistic style of dress, he promoted himself as an artist in order to distance himself from the feminine connotations of dressmaking, and to utilise the prestige of art to market his designs to his wealthy clientele (Buckley, 2020;de Marly, 1990).…”

Espaços de formação e circuitos profissionais no design por meio das trajetórias de Irene Ruchti e Fayga Ostrower

“…Duas trajetórias nos parecem significativas para analisarmos as condições de acesso de mulheres artistas aos espaços de formação, aos circuitos profissionais e como essas redes de sociabilidade se constituíram nas práticas de design: Irene Ruchti, aluna da Escola de Desenho Industrial do IAC-MASP, e Fayga Ostrower, professora do curso de Composição no MAM Rio. Irene Ruchti 7 (1931-2020 iniciou sua formação no curso de Artes Plásticas no Instituto de Belas Artes (UFRGS), em 1947. No começo dos anos de 1950, ainda em Porto Alegre (RS), é convidada por Assis Chateaubriand para integrar a primeira turma da Escola de Desenho Industrial do IAC-MASP.…”