Sendai School of Design: Project Driven Design Education Based on a Wide Range of Highly Adaptive Collaboration

The design phase is very complex and interactive in nature as it aims at incorporating the needs of all parties involved in the delivery of a successful project, (Sebastian 2007). Such complexity and interactivity requires the symbiotic relationship among the parties to be mutualistic in nature. Mutualism relationships enhance the ability to achieve desired outcomes in a manner whereby each party benefits. For example the architect is able to gain revenues as a result of his architectural designs while the clients achieve a project outcome that meets their desired requirements, (Energy Star 2014).

Our beliefs, time, money, and actions are all being fought over with design as the arsenal. The graphic designer learns how to participate in this fight through education, intuition, creativity, and technical skills. Though helpful, a formal education in design is not what is meant here. The education needed is more about understanding the previously mentioned rules we are working with. Intuition is required in order to know when it is appropriate to adjust or disregard these rules. Creativity is needed because redundancy will not break through the wall into the internal world. Technical skills are essential because poor craft reduces credibility. This idea of the world as an arena is a reoccurring theme in The Cheese Monkeys, and the importance of education, intuition, creativity, and technical skills have been further reinforced to us through the grading process and classroom discussions in Graphic Design

This manifesto proposes an approach to sustainable design that I am interested in exploring during my time studying architecture. The idea of sustainability is a complex one, not without apparent contradictions. This makes it difficult to define in a wholly satisfactory manner. For the purposes of this manifesto I will advert to the definition proposed by Jason McLennan who asserts that sustainable design: “seeks to maximize the quality of the built environment, while minimizing or eliminating negative impact to the natural environment.” I find this definition particularly useful in the emphasis which it places on quality. By quality, in this

Taking a design that was once used for events, now abandoned and derelict, and reinventing its potential to be used by all to enrich their lives and provide a social and content atmosphere is a goal of attaining. It will be something extraordinary to redesign a building and mix existing features to make a new design that everyone can appreciate. “Instead of downplaying the 110-year-old building, S&T made enthusiastic use of the old timber floors, brick walls and open trusses, celebrating heritage alongside contemporary design.” (Arch Daily). No matter what materials, space, or structure is being used within a design, in the end, it is always about the creativity for its achievement. “Creativity is about play and a kind of willingness to go with your intuition. It’s crucial for an artist. If you know where you are going and what you are going to do, why do it?” (Freshome). Capturing memories and expressing them into a design that tells a story that has never been told is what makes this project, inimitable; it cannot be special if it was heard or seen before. Everyone has a way of

But in contemporary society, there is no single definition that covers design completely, or even fields of professional practice as graphic or industrial design that adequetly cover the diversity of ideas and practices as once existed. (pg3 wicked problems in Design thinking book THE IDEA OF DESIGN)

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 document is officially published on October 14, 2015 and posted on the LinkedIn blog page. The discipline of this document would be used in a journal that is related to any field of design. Design students and professions would use this document for building self-esteem and the inspiration for understanding designers’ difficulties in the reality.

Get creativity flowing as students don their hardhats to learn the complexities of designing structures! From integrating mechanics into structures to investigating the impacts of external forces, learners move through advanced, hands-on building and design activities. With new buildings reaching higher into the sky, architects and engineers are constantly working through questions of structure and style. Each day, students tackle those same challenges as they team up to develop an understanding of the real-world applications of

I began to gain experience technical expertise starting in high school at the Gwinnett School of Mathematics, Science, and Technology. There was a gap between the technical skills that I obtained over time, including that of AutoCAD and Revit Architecture, and a true sense of design. For the most part, I learned through self teaching and trial and error. There was still a gap between what I was able to produce digitally and physically, and the design intent. Working with the Lawrence Design Group firm during my Senior year of High School, I gained an understanding of how the workplace functioned in the Architectural Field.

Over the years the business of Graphic Designers’ Studio has grown many folds, resulting in a need to move from “home-based” business model, to an office where the 3 support staff and 2 customer service reps and 15 designers can be consolidate at one location.

I have loved design for as long as I can remember. As a child, my favorite playtime activities were drawing, crafting, building with legos, or assembling my erector set; I always liked creating the scene more than playing the game. I am attracted by diverse facets of design; whether I am creatively arranging spaces within a structure, fitting together the wooden limbs of a table I have crafted, or laying the pages of a book, I love the challenge of taking a jumble of ideas and making them into something cohesive and beautifully presented. What attracts me most to design, however, is the human aspect. I love collaboration and I have spent my education and career as a designer focused on bringing people to the center of my work. The best kind of design is multi-disciplinary, participatory, and hands-on; when everyone contributes ideas and gets their hands dirty, the end result is more likely to be both

“Yale is the place that endowed me with the confidence and the grand scope of the world that a young designer needed to excel and make a difference in the real world.” – Yansong Ma. Yale University (M.Arch ’02).

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.

This Essay will examine the South African design Style and whether it is a myth or reality. The characteristics that possibly represent the South African design style and the local vs global contrast in South Africa.

Many talented individuals are attracted to careers as designers. Those with little or no education, as