Third year has marked a turning point in my attitudes towards architecture as a began to fully embrace the use of technology in design. Previously, I had limited my use of technology and mostly relied on traditional methods from the production of design drawings and models. However, the use of technology in the
Agricultural technologies are biased and ethical challenges are posed by technologies themselves. The technologies we work with are encapsulated with values and norms and indicate the form of our moral character. They can make us better or worse consumers and people. Looking back, when the world's developed nations welcomed and steadily embraced industrialization as the dominant paradigm for agriculture a half-century or so ago, they inadvertently championed a philosophy of technology that promotes an insular human-centrism, despite its laudable intent to ensure food security and advance human flourishing. The dominant philosophy of technology has also seeded particular ethical consequences that plague the well-being of human beings, the planet,
sensitive to the rhythm and nuances of living. Design should be seen as a configuration and
Russel Wright is an American industrial designer and architect that lived during the early to mid twentieth century. Many of Wright’s ideas and designs were considered to modern at time, drawing influences from not only ingenious designers like Frank Lloyd Wright but nature as well. Wright’s influences would lead him to create a design style unlike any at the time; a style that would eventually become almost standard in many homes in the United States. The designer Russel Wright and his wife, Mary Wright together published a guidebook known as Guide to Easier Living. In it contains numerous suggestions and thoughts on home architecture, interior design, as well as product design. Many of the thoughts and suggestions conveyed in the book can be seen in present-day design and architecture. Wright’s book also laid the groundwork for his home, Dragon Rock, which of itself possesses elements of design that are seen in today’s homes. Russel Wright’s Guide to Easier Living is clearly a response to interior design at the time; containing numerous design ideas, Wrights guide influences Wright’s own future works.
The Design Argument The name teleological is derived from the Greek word ‘telos’ meaning ‘end’ or
Interior design is a profession that is undertaken academically just like other professional careers. It mainly involves the development and imparting of skills, knowledge and attitudes that pertains the activities undertaken in the building and construction industry. The profession of interior designing goes beyond designing how a structure will look because it incorporates environmental issues especially aesthetic value of the structure to be constructed, the ergonomics, local fire codes and besides studying fundamental design issues and practice in the building and construction industry (Guerin & Thompson, 2014). Even though the profession is not as old as some of the established professions, the fact remains that the fundamentals of design
“The family was building a home that met the strict guidelines of GREEN design” explained interior designer Linda Ruderman. “So I worked closely with them to select items designed for sustainable living”
Essay 1: In addition to the two criticisms that Hume makes of the design argument that are described in this chapter, Hume presents a third. He says that even if the design argument succeeds in showing that a designer made the universe (or the organisms in it), the argument does not succeed in establishing what characteristics that designer has. For this reason, the argument does not show that God exists. Is Hume’s claim correct? How seriously does this undermine the design argument?
With the belief that each home should reflect the owner’s personality, she invests the time needed to get to know design goals, the use of each room, and colors and textures that appeal to the client. She approaches each project as a unique puzzle that, once assembled, will tell a story.
With the modernization of Australia, cross-cultural designs can be seen in a few buildings such as the Marika-Alderton House by Glenn Murcutt. Many ethnocentric views came with the final completion of this house. Some people call this timber and metal structure the future prototype for Aboriginal housing but the Aborigine client herself denied that fact.
“Human houses should not be like boxes, blazing in the sun, nor should we outrage the Machine by trying to make dwelling places too complementary to Machinery. Any building for humane purposes should be an elemental, sympathetic feature of the ground, complementary to its nature-environment, belonging by kinship to the terrain.”
Interior design and architecture are essential, and often overlooked, aspects of everyday life. In modern society people rely on function, durability, and visual appeal when selecting designs for their homes, businesses, and places of leisure. The way that a space is designed influences such things as mood, which, in the case of a business, can impact the productivity of employees and either draw or repel customers. In residential design, the design becomes very personal and, to be considered a successful design, must properly reflect the home owner while at the same time offering some practicality that makes the space livable. An effective design, for any space, must solve some problem, be it function, flexibility, or some other criteria. Simply solving a problem would not please the customer, however, unless it offered some visual appeal. Creating function with style is the real job of any interior designer, and is essential in a content society.
Earthship design is a movement initiated by Michael Reynolds. Earthship Biotecture is a method of architecture and design that incorporates recycled materials, earthen materials, and renewable energy sources into a sustainable and self-sufficient home. The purpose of this according to Michael Reynolds it to achieve energy independence, sustainable housing, and relieve the burdens of stress on the environment from conventional building methods while keeping cost minimal. Utilizing waste and earthen materials, Michael was able to construct comfortable living, beautiful architectural design, and self-sufficiency
We are all part of an interlinking system, a system that needs balance with humanity and nature at the forefront. As Designers it is important that we take self interest out of design and instead collaborate within our physical environment and make sure that from the get go, our designs should work around a collaborative system that has a wide breadth of professional fields and influence from existing infrastructures found within our world. Victor Papernak writes “eighty percent of the environmental impact of the products,services, infastructures around us is determined at the design stage.” I have chosen to explore collaborations within the natural world, our industrial ecology and social design as examples of how important working together with other professionals and the environment we live in are for the bigger picture. In Victor Papernak’s book Design for the real world, Papernak uses an anecdote to stress the importance of collaboration for successful design.
The book, Sensory Design published by Joy Monice Malnar and Frank Vodvarka in 2004, explores a new multi-sensory method of design for architects in 335 pages. The opening of the book starts with a question “What if we designed for all senses?” Very similar to articles from Pallasmaa, the book leaves the reader wanting to know more about this method although this book covered many topics and included many references. Malnar is an associate professor at the University of Illinois, and Vodvarka is an artist who wrote many articles on architectural history.