Integrated Design

Design education has a special variety and has developed significantly in many countries of the world, initially being part of the academy of arts, and increasingly being transformed into universities and vocational technical education. Design programs have begun to rise in the second half of the 20th century, and have since grown rapidly based on extensive university programs. Such growth and positioning of education in Design has been achieved thanks to technological developments that are known as industrial revolutions. Technological revolutions have enabled changes in social demand, the achievement of design maturity as an academic discipline positioned between science and engineering, and the achievement of international design standards. In this scientific paper, we have applied the descriptive method of developing design programs within the broad university disciplinary context. Research questions address issues related to how design managed to unite engineering, the social sciences, and business studies in the broader industrial context. The unique design positioning near the engineering sciences has been supported by a large group of relevant expertise that has nurtured a combination of education, research and practice in the industrial context.

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