Integrated Design

. In a consumerist society, increasing speed of product replacement drives unbearable sustainability problems. Manufacturing and sales-focused linear economy give insufficient concern to use phase and afterlife of products. Fewer consumers engage in the practice of repair in order to increase product longevity. On the contrary goal of a circular economy is producing less waste through increasing connections between product lifecycles, which makes product afterlife a crucial issue. In the circular design literature, modularity, material selection and disassembly properties of products are often highlighted. However, the practice of repair is often neglected in sustainable product design researches. This paper focuses on design strategies to enhance the reparability of products to support circular user behavior. Major design strategies to change user behavior towards repairing are discussed. Moreover, the process and outcomes of undergraduate product design focused on design for repair presented.

This paper will deal with a very interesting encounter between architecture and cinema through analysing two texts written by Soviet film director Sergei Eisenstein. In the late years of his career, Eisenstein wrote an article on Giovanni Battista Piranesi’s architectural etchings Le Carceri d'Invenzione, finding cinematic dynamism in those images. The current text will analyse the formal method of Eisenstein’s architectural reading and will ask the question why he looked at the 18th-century architectural etchings of Piranesi in order to find contemporary cinematic forms.

This paper aims to define how we can foster new technologies in the field of product design in the particular context of Albania. Apart from several efforts in the local market to invest in human dynamic, infrastructure and qualitative design production technologies there is a lack of a clear strategy based on the interaction between businesses and academia under a research and design curriculum framework. This challenging process of the continuous collaboration between universities and business can lead to a new definition of product development using research methodologies developing a startup-design academy. The continuous exploration, analysis, reflection and inquiry of social needs can lead to new technologies using research methodologies focused in industrial and product design, product development and marketing.

Yugoslavia portrays a place of different ideological experiments that effected country’s economic tradition metamorphosed from socialism to neoliberalism. After the 1948’s political shifts, Yugoslavian government as a genuine model of management, established ‘Socialist Modernism’. Consequently, international architecture scene, (between World Wars and the 1980s) that was exposed to different streams from ‘International Style’ to Mega-structures and ‘American Brutalism’ influenced Yugoslav architecture too.

The purpose of this work is to describe the modernization of socialist architecture that occurred in Yugoslavia by presenting the evolution of Prishtina, the capital city of Kosova, during Josip Broz Tito administration. As a concrete representation of these historic phenomena, this work introduces the building of ‘Boro-Ramiz: Sport, Culture and Trade Complex’ designed by DOM Architectural Office from Sarajevo and built between 1974 and 1981. The complex is known as a landmark of Prishtina; a symbol of the socialist moral, and portrayal of Yugoslavia’s international political, economic and cultural achievements. Another important statement is the influence of ‘Metabolist Movement’s structuralism, like an expression of collective samples, since the design shows structural and rhetorical similarities with ‘TANU Headquarters’ designed by Kisho Kurokawa. The scope of the work contains the complex’s design context in the frame of ‘Socialist Modernization’, which is a display of Tito-Stalin Split in 1948 and government’s political, economic and cultural shift towards the West and the Third World Countries

Construction projects are omnipresent in Prishtina. It’s difficult to walk in the city for more than a few minutes without passing new, modern apartment blocks or construction sites with

billboards promising luxurious living spaces to come. Architecture, during all the greatest creative periods, has been the mother of all arts — it has been a social art. In the historical golden ages, architects were “headmasters” who played the main role in the entire production process. However, in the transition from the age of craftsmanship to the industrial age, architects have lost their position of governance. Today, architects are not the “headmasters,” but are instead in danger of losing their position to engineers, scientists and constructors if they don’t change their approach and focus on the new situation. The architects of the future will need to express the spiritual as well as material needs of human life through their work. They will need to act as coordinators and organizers of an extensive experience, starting from the social concepts of life and the successful integration of thought and feeling, by bringing purpose and form into spatial harmony.

This article will present some of the basic characteristics of the educational system that was ran at the Bauhaus Faculty and Black Mountain College. Information that are not so well known, will be presented. Four basic principles of teaching will be covered: learning from the community, the change in the naming of student/professor, freedom of the students and experimentation. In the first chapter called “Industry and Guilds”, the separation that took place between the industrial principle and the guild principle, which was almost totally forgotten in the later phases of Bauhaus, will be presented. Bauhaus was firstly obliged to the guild principle when Walter Gropius wrote the manifesto for the faculty. This has shown also in the naming, which was used for the faculty. The second moment that we can see this principle is life in a community. The second chapter “Theory and Theoreticians” shows the theoretical influence of Bauhaus on Herbert Read and the influence of John Dewey on Black Mountain College. In the centre of this chapter is the idea of freedom and experimentation.

Poet Amiri Baraka remembering race and class riots in Newark in 1967 wrote: “the spirit and feeling of the moment a rebellion breaks out is almost indescribable. Everything seems to be in zoom motion, crashing towards some explosive manifestation. As Lenin said, time is speeded up, what takes years is done in days, in real revolution. In rebellion life goes to 156 rpm and the song is the police siren accompanying people's breathless shouts and laughter.” (Amiri Baraka, The Autobiography of Leroi Jones, 1984, p. 259-260). Baraka goes on to describe this moment not only as political novelty, which shattered his conceptualisation of black identity (“black hurricane”), but also as something which transformed this very identity through political contradictions that have had unforeseen and different heuristic forms (“a higher stage that can only be brought about by fire”). My aim is to reflect on this moment of transformation which Baraka has described as “going through fire” with philosophical conceptualisations of temporality borrowed from Walter Benjamin, especially through his historical-materialist concept of “state of emergency.” The state of emergency, or now-time (“the time of fire”) as temporality loaded with contradictions is, as Peter Osborne has put “a mode of interruption (refiguration) of the narrative continuity of its everyday form” (Peter Osborne, The Politics of Time, 1994, p. 156). This conceptualisation will allow me, following writings of John Roberts, to discuss the intersection of singular temporalities of revolutions and art works, as interruptions of everyday life forms: “from 1917 the 'everyday life' is subject to an extraordinary theoretical elaboration and scrutiny that largely shapes the content of the concept through the twentieth century” (John Roberts, Philosophizing the Everyday, 2006, p. 20). It is largely accepted that the temporal singularity of 1917 revolution was condition also of avant-garde artistic “refigurations”. In the first part of my paper I want to discuss the philosophical and theoretical conditions of distinctiveness of the revolutionary temporality and its conjunction with the artistic experimental forms. Particularly I will refer to moments of decolonization and race riots and their theoreticians such as Frantz Fanon, Ambalavaner Sivanandan, Amilcal Cabral, Paul Gilroy, Stuart Hall and Amiri Baraka.

The second part of my paper will discuss how the temporal singularity of revolutions and riots takes shape as an art form. Amiri Baraka, after claiming the massive and transforming experience of Newark riots, states that it was a moment un-representable in any possible art form (“a scale no musician could plumb”). But he adds that in Newark riots he has understood what John Coltrane and Albert Ayler's noises and blows really meant. Free Jazz (or Fire Jazz) for Amiri Baraka is something that offered a completely new grammar, expression and conceptualisation of non-ideological political articulation (as he discussed with terms of horizontal egalitarian articulation against vertical class society machine). My aim is to discuss the Free Jazz noise exactly from the point of this articulation as something indispensably emancipated from everyday life temporalities. In order to do this I will extensively use writings of Amiri Baraka/Leroi Jones on jazz, particularly his Blues People and Black Music books (especially former which is crucial in understanding many appropriations of black radical thought, as for example in Jean-Luc Godard's film One Plus One/Symphathy for Devil), which depart from the thesis that political articulation of Free Jazz is possible because inherent temporal form that it carries is open to a radical futurity. Similarly Jacques Attali in his seminal book Noise: Political Economy of Music articulates noise as political intelligibility as radical futurity, and so does Kodwo Eshun in More Brillian than the Sun, which is study of “afro diasporic futurism” through the experimental sound of Alice Coltrane. In these theoretical elaborations the noise and Free Jazz (something which Attali is keen on) is not discussed as a representation of politics; but more as production of new political articulation which is based on artistic intelligibility and is a result of formal innovation and openness. Another instance to discuss this position would be Guy Debord's writings and films dealing with “times of riots”, most notably Critique of Separation and Society of Spectacle. What is stunning is that Debord's conceptualisation of riots as novel political articulation is based on his analysis (Decline and Fall of the Spectacle-Commodity) of 1965 race riots in Watts, Los Angeles, which was also a turning point for Amiri Baraka. His films are proof of this conceptualisation, which recently Jason E. Smith described as conflict between “empty time of everyday life and fleeting intensity of the riot.” (Jason E. Smith, Missed Encounters, Grey Room No.62, 2013, p. 77).

As a conclusion I will refer to a recent race riots in the suburbs of Stockholm and an art-project (paper-film) that I co-authored with Minna L. Henriksson, which conceptualise these riots through the heurism of noise and temporality of singular refigurations.

In this study we focus on solving critical sustainability issues of climate change in interior design processes through developing concepts inspired by nature (biomimicry). We will explore concepts in design processes by studying the imitation of nature’s patterns and strategies to improve human inventions to help us create sustainable solutions to contemporary problems in design education.

While designing, designers always search for innovative and sustainable concepts forgetting that nature is a design 3.5 billion years in the making. Nature has already figured out which strategies work best and this can be our basic inspiration and concept starter as designers. In this respect, the study searches and analyzes nature based design processes.

This paper postulates that design since its beginnings was intertwined with the art of storytelling, both directly or indirectly. Evolution of storytelling forms are explored, beginning with stories around the fireplace, and continuing with the ones such as the dramatic arts, literature, animation, film, more conceptual designs, advertisements as well as other artforms of visual storytelling. Storytelling compared to Walter Benjamin’s concept of the “aura” discussed in “The Work of Art in the Age of Mechanical Reproduction”. The connection between storytelling and design is explored in various contemporary media such as video games, fashion shows, and all the way to modern advertising campaigns, all of which use story elements as the main scaffold upon which the design is built upon.

By mid-century, over two-third of the world population will be living in cities and around 60% of them will be under the age of eighteen. Studies point out that children’s early experiences are crucial for shaping their lives and lay the foundation for future years. Children studies are relatively well developed in psychology, medicine, and pedagogy but are often overlooked in design education. However, designers have great chances to improve children and their caregivers’ relationships with the city. This study presents a brief review of design literature concerning children issues, and illustrates the development of an interdisciplinary degree focusing on City and Children Studies.

This paper investigates the methods of exploring collective memory through art and space, specifically focusing on Fatmir Mustafa-Karllo’s exhibition “Mosquito Vapor Trails” which was curated by Artrit Bytyçi, for Paper Gallery in Prishtina, Kosovo. Special focus is given to the selection of the artworks, how the exhibition space itself serves as an environment which is in conversation with the works, as well as the curatorial process and text as not only as a reflection of the artist’s works, but also as an artwork in itself that provides an extra layer of meaning and discussion. Three artworks by Fatmir Mustafa-Karllo will be discussed: “Rapid Eye Movement,” “Picnic,” and “After the Stroke.” Furthermore, we will focus on discussing the importance of the exhibition space, especially on the fact that the current location of Paper Gallery and Paper Communications is at the former venue of Radio Prishtina, and how this space is in a conversation with the artworks exhibited therein. Finally we will focus on the process of writing the curatorial text, and how as much as it is in conversation with and support of the exhibition, it is also an artwork in itself.

This scientific research aims to bring to light the multidimensional psychological impact of colors in human perception. The research aims to find out whether there is a correlation between color preferences and profession, as well as whether the current individual psychological state, place of residence (rural or urban), gender, hunger and fatigue have an impact on the perception of colors and on color preferences. The research is conducted on a considerable group of individuals of wide gamut of different professions (Design, Architecture, Computer Sciences, Pharmacy, Medicine, Political Sciences, Music, etc). The experiment is conducted based on the Natural Color System. This system was selected because it is a perceptual model. The model is based on the color opposition hypothesis, proposed by German psychologist Ewald Hering. The system is convenient because it is based entirely on the phenomenology of human perception and not on the mixing of colors.

Yugoslav architecture traced ideological, political and economic instructions. In parallel there was a historic persistence in every consistent republic and their arising architecture. Interwar period was a time of emergence of modern architecture in Yugoslavia through an architects that studied in Western schools or worked in prominent architect’s offices of a time. Yugoslav architects merged modernist approach with traditional elements advancing orthodox modernist venture. Despite that Socialist Yugoslavia searched for unified national identity, the architecture of a country was diverse since each consistent republic digested modernism it in its own way. The aim for modernity and the way to explore it, was unifying characteristic portrayed in cities of Yugoslavia. After the 1960s architecture in Yugoslavia as a protagonist finds its unique character touching all the cities of a region and represents country in international platform as modern in Western perspective.

The proliferation of COVID-19 made moving our home business mandatory. As architects and designers run their businesses from home, architectural and design education has begun to be conducted through distance learning through digital platforms. Architectural and design education, which is a process based on the exchange of ideas one by one between students and academics, and which functions through the correction of work done, is in a serious transformation at this point. With the introduction of established life, business concept and the emergence of various specialties, the development of transportation systems, the relationship of human beings with the home in a continuation over the ages has undergone a sudden change in the time of the pandemic. The day before the onset of the pandemic crisis, the living twentieth century individual was committing many of the practices of daily life outside the home, such as eating and drinking, entertainment, education, shopping, building social relationships and work. Today, at the last point we have reached, we are in an effort to adapt all of these practices at home during the pandemic where we live with all our contemporaries on a global scale. In the process, we seem to be meeting our homes again. On the other hand, today we are in a simulation of the digital revolution that started before us and destroyed physical space. In this study we aim to represent “the house”, with experience "closer" and "longer" in the quarantine time.

This pilot study aims to lay the groundwork for a future long-term research project, which shows the analysis of data from 21st century painters and designers by visual artists. From Kosovo to EU countries around the world. This study focuses on artists and designers who mainly have the most famous works during this time period. Through questionnaires administered for specially selected paintings and designs, the study investigates issues such as the reasons needed to facilitate their artistic and professional practice Since the research is still ongoing, here we present preliminary data. In conclusion, it is necessary to expand the existing study and further research to more accurately study the phenomenon of creating a platform in facilitating the informative data of visual artists and designers. Recommendations for additional parameters, such as a larger size sample, additional specific questions for artists, and designers as well as the inclusion and facilitation of accurate information retrieval in the discussion section