1,720,980 research outputs found
Mnemosphere Project. Power of Images
No full textWe are immersed in a society built on images, through which we try to communicate and leave our trace. Memory and remembrance seem to be recurrent thoughts of our time, able to penetrate our deepest and most ancient instincts and feelings. Visual culture is part of many different disciplines and fields with a creative and artistic approach to investigating. In this sense, Design contributes to enhancing this visual language and could help expand memory studies in seeking a relationship between imaginative horizons and the emotions they trigger.
Mnemosphere, through an interdisciplinary approach, investigates how the memory of places is designed and communicated through experiential spaces capable of stimulating emotions. The research proposes a dialogue between communication design and exhibit design in the atmospheric dimension; it approaches with a particular focus on emotions, chromatic perception, and the design of temporary spaces and services.
The research first considers the articulation of a common lexicon regarding the memory of places, atmospheres of spaces, and atlas of emotions, among others. Then, the project intends to investigate the themes that emerged by analysing their specific communicative and visual components by collecting data to analyse parameters and red threads to design spaces linked to memory and emotions. The result is a collective and participated visual archive, the Mnemosphere Atlas, in which emerges the power through which images can narrate personal and collective memories in the present moment. This is being done through an open call for images, spread online through the project‘s platforms.
The shared archive and the results will be available online to contribute to a different perspective on visual culture in the creative and design fields of knowledge
Aventúrate : la ruta vocacional : diseño de interfaz de una aplicación de orientación vocacional aplicando elementos de gamificación
Full text linkAventúrate: La ruta vocacional nace como una herramienta educativa innovadora que transforma el proceso de orientación vocacional para estudiantes de educación media a través de la gamificación. Esta aplicación introduce instancias lúdicas y entretenidas para guiar a los estudiantes en la exploración de sus intereses, habilidades y trayectorias profesionales. Adoptando un enfoque interactivo, la aplicación se despliega a través de un mapa que no solo actúa como el núcleo de la experiencia educativa, sino que también se posiciona como una representación simbólica de la cultura local en diversos paisajes chilenos.
Aventúrate tiene como objetivo principal facilitar la toma de decisiones a los estudiantes en un período con muchas interrogantes, donde la incertidumbre sobre el futuro académico y profesional se hace presente, y la necesidad de un acompañamiento personalizado se vuelve imprescindible.
La esencia de la aplicación radica en democratizar y facilitar el acceso a instancias de orientación vocacional de calidad, abordando la problemática sobre la inequidad y desigualdad en la educación, y reconociendo que la solución se encuentra en la creación de políticas públicas que luchen contra este problema, de modo que todos los estudiantes del país tengan acceso equitativo a herramientas que potencien su toma de decisiones académicas y profesionales.Versión original del auto
Analyzing color training in design education: A review from 2010 to 2022
No full textThis study was part of a doctoral research project which looked into the current issues with color education, documented by several authors in recent years. It presents a comprehensive analysis of 103 color courses taught within
design programs of higher education institutions from different countries over the last 12 years, 2010–2022. The analysis aimed to define the state-of-the-art of including color training within higher education design programs, identify the main didactic strategies implemented, and recognize the main critical aspects to face when proposing an innovative framework for color training. Among the formal aspects analyzed are the course level, the course duration,
the student entry profile, the specific disciplinary area, the course location, the type of institution, and the language of the course. The didactic strategy elements analyzed were the learning outcomes, the contents proposed by the
course, the teaching strategies implemented, and the suggested bibliography. Finally, a description of the main findings of the analysis is provided to assess how color is being taught within the design area
Colours of a Neighbourhood: Methodological Questions and Challenges
No full textThis paper addresses methodological questions that arise from large-scale architectural colour research. The paper will discuss some preliminary findings of my on-going PhD. The PhD project represents a practice-led study concerning the colour planning six residential areas built during the last twenty years in the greater Helsinki metropolitan area in Finland. The paper will focus on one of these sites, Aurinkolahti, which is situated in the eastern part of Helsinki and was built between 2000–2016. In this pilot study, I tested two research methods, for enabling architects, artists and colour designers to conceptualise their experience of architectural colours, particularly in terms of the design process. The first method referred to as colour walk, is an ethnographic walking method. Colour walk allows the designer to provide words for non-verbal experience of colours in architecture and to create concepts for the artistic colour design process. The second method, visual ethnographic photography is both a method for documentation and an approach for conducting artistic research concerning the atmosphere of architecture focusing on colours. Designer-photographers act with their own perceptions and knowledge, documents and photographs the area in order to visualise their thoughts.Peer reviewe
Colour design training itinerary. A framework for the teaching and learning of colour in the design discipline
No full textDOTTORATOIl colore è un elemento essenziale nella percezione visiva e, allo stesso tempo, è uno dei più complessi. Negli ultimi 30 anni, gli studi sull'inclusione del colore nell'educazione estetica e progettuale (design, architettura, arte) hanno evidenziato una scarsa considerazione del colore a livello universitario e una grande necessità di fornire risorse formative agli insegnanti e, di conseguenza, agli studenti a livello di istruzione superiore. I designer spesso si laureano senza ricevere un'adeguata formazione sul colore e, quindi, si affidano quasi esclusivamente all'intuizione, al gusto personale o alle conoscenze apprese da soli quando scelgono i colori. Tuttavia, l'invisibilità del colore all'interno dell'accademia del design non sempre si riflette nella pratica professionale della disciplina. Negli ultimi anni, c'è stata una crescente tendenza a considerare le pratiche relative all'applicazione del colore nel design come una nuova sottodisciplina. Seguendo le richieste dell'industria, alcuni designer hanno iniziato a specializzarsi in questo campo di lavoro e hanno iniziato a chiamarsi 'color designer'. Questa figura emergente è ancora incipiente e il suo campo d'azione all'interno della disciplina del design non è ancora ampiamente riconosciuto e, di conseguenza, non è stato ancora sufficientemente istituzionalizzato all'interno delle scuole o degli istituti di formazione professionale.
Con tutto ciò, lo scopo principale di questa ricerca è stato quello di valutare gli elementi chiave che dovrebbero essere considerati in una alfabetizzazione del colore per le attuali esigenze di educazione al design all'interno delle istituzioni superiori, e di proporre un progetto educativo che possa sostenere l'insegnamento e l'apprendimento del colore nella disciplina del design. Nella ricerca di un filo conduttore per l'innovazione didattica sviluppata, la ricerca si affida al modello pedagogico chiamato Constructive Alignment sviluppato da J. Biggs, che rappresenta una convergenza tra una comprensione costruttivista della natura dell'apprendimento e un design allineato per un insegnamento basato sui risultati. La ricerca ha cercato di fornire agli insegnanti di design e colore chiare linee guida per specificare i risultati dell'apprendimento, le attività di insegnamento e apprendimento, un quadro completo di conoscenze e criteri di valutazione per fornire feedback agli studenti. Il principale risultato della ricerca è il Colour Design Training Itinerary (CDTI), un quadro didattico completo che definisce diversi livelli di azione per il miglioramento dell'insegnamento e dell'apprendimento del colore nella disciplina del design. Il quadro CDTI è stato costruito attraverso la consultazione, il coinvolgimento e la collaborazione con insegnanti di colore di diversi paesi e background. Inoltre, il CDTI vuole essere utile per diversi contesti pedagogici, in relazione a come l'insegnamento e l'apprendimento stanno cambiando e adattandosi all'attuale scenario internazionale, in altre parole, considerando le risorse per l'insegnamento in presenza, l'apprendimento misto e l'apprendimento autonomo online.Colour is an essential element in visual perception and, at the same time, it is one of the most complex. During the last 30 years, studies about the inclusion of colour in the aesthetic and project-based education (design, architecture, art) had evidenced a lack of consideration of colour at the university level and a great need to provide training resources to teachers and, consequently, to students at higher education level. Designers often graduate without receiving proper training about colour and, hence, almost exclusively relying on intuition, personal taste or self-learned knowledge when they choose colours. However, the invisibility of colour within the design academy is not always reflected in the professional practice of the discipline. In recent years, there has been a growing tendency to consider practices related to the application of colour in design as a new sub-discipline. Following the requirements of industry, some designers have begun to specialise in this field of work and have started to call themselves ‘colour designers’. This emerging figure is still incipient and its field of action within the discipline of design is not yet widely recognised, and as a consequence, it has not yet been sufficiently institutionalised within schools or professional training institutions.
With all of the above, the main purpose of this research was to evaluate the key elements that should be considered in a colour literacy for current design education needs within higher institutions, and to propose an educational framework that may support the teaching and learning of colour in the design discipline. In the search of a guiding thread for the didactic innovation developed, the research relies in the pedagogical model called Constructive Alignment developed by J. Biggs, which represents a convergence between a constructivist understanding of the nature of learning and an aligned design for outcomes-based teaching. The research sought to provide design and colour teachers with clear guidelines to specify learning outcomes, teaching and learning activities, a comprehensive knowledge framework and assessment criteria to provide feedback to students. The main output of the research is the Colour Design Training Itinerary (CDTI), a complete educational framework that defines different levels of action for the improvement of the teaching and learning of colour in the design discipline. The CDTI framework was built through consultation, involvement and collaboration with colour teachers from different countries and backgrounds. Also, the CDTI is intended to be useful for different pedagogical contexts, in relation to how teaching and learning is changing and adapting to the current international scenario, in other words, considering resources for in presence teaching, blended-learning and online-autonomous learning.DIPARTIMENTO DI DESIGN34BERTOLA, PAOLARAMPINO, LUCIA ROSA ELEN
Proyectacolor : recursos de apoyo a la manera tradicional de estudiar y enseñar el color para el diseño
No full textDiseñador GráficoNo autorizada por el autor para ser publicada a texto completoEn las disciplinas de proyecto, el color, puede ser el medio más valioso para que una obra transmita las mismas sensaciones que se experimentaron frente a la escena o motivo original; el conocimiento de su naturaleza, dimensiones y efectos, permite usar el color para articular y expresar adecuadamente un mensaje.
Surge la necesidad de que se generen instancias para el aprendizaje del color, y por supuesto, que dichas instancias se presenten acordes al contexto tecnológico actual pero en beneficio, principalmente, del proceso de aprendizaje.
La utilización de herramientas multimediales puede significar un gran aporte, debido a la forma como éstas motivan audio-visualmente y entregan los diferentes contenidos que tratan; pero se ha comprobado que el uso de estas herramientas en forma aislada no es suficiente. Por otro lado, el color, como elemento de percepción visual, debe aprenderse por comparación y contraposición de opiniones, propias de la instancia de clases pero éstas últimas carecen de un apoyo visual eficaz, actual y motivador para los estudiantes.
Por todo lo anterior, en el presente proyecto se postula la creación de una herramienta para el aprendizaje del color, que contemple 3 instancias: digital, presencial y mixta. Dicho de otra forma, el proyecto consiste en una tríada de comunicación visual compuesta por: un portal Web con recursos sobre color (instancia digital), un curso o taller de color (instancia presencial) y una serie de objetos de aprendizaje digitales que son implementados en el taller de color (instancia mixta)
Four approaches to Johann Wolfgang von Goethe’s theory of colour
Full text linkEste artículo busca proporcionar nuevas perspectivas para una lectura reflexiva de la Teoría de los colores de Goethe, que permitan su puesta en valor más allá de la reconocida polémica con las ideas científicas de Newton, a partir del reconocimiento de la actitud proto-fenomenológica del poeta alemán y su interés en la experiencia directa y subjetiva del fenómeno
cromático. Además se abordan otros aportes de la Teoría, fundamentales para comprender la importante influencia de Goethe en la configuración del
conocimiento contemporáneo sobre color.This article seeks to bring new perspectives for a reflexive reading of Goethe’s Theory of Colours, to enable an appreciation of it, beyond the well-known polemics with the ideas of Newton, based on recognizing the
proto-phenomenological attitude of the German poet and his interest in a direct and subjective experiencing of the chromatic phenomenon. Besides, other aspects of the Theory are dealt with, which are fundamental in understanding Goethe’s relevant influence in the configuration of a contemporary knowledge of colour
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