Category Archives: DH

DESN 200: Design History Syllabus – SP17

General Information
Title: “Design History”
Instructor: Juan M. Parada
Office Hours: Terra 1211A, Wed 1-3pm
Contact Information: jparada@uarts.edu

Course Description
This course presents a selection of key concepts in the history of design, particularly the idea of human beings as designers and makers, i.e. Homo faber. The focus of this course is on the period of prehistory through the Renaissance, and on to the Enlightenment and finally from the mid-nineteenth century to the late twentieth century within the broader context of this time period’s rapid technological change, social and political upheaval, and expanding cultural exchange.. Looking at these periods, this course examines the relationship between design and culture, design and craft, design as problem solving and as a “rational method”, and design in relation to society. The primary objective of this course is to provide a deep historical context for the practice of design.

The following is a selection of some of the key topics touched upon in this course:

– design without designers
– animals as designers + humans as designers
– design before the Industrial Revolution
– the Enlightenment period and the idea of “rational design”
– design and culture
– design and idea of the individual designer
– design and the masses, design and ideology, design and commercialism
– design and the idea of the “object” + design and “systems”

Required Materials
o (See p.4)

Student Learning Outcomes
Students in this course potentially will be able to understand and analyze key concepts in the history of design, particularly the idea of human beings as designers and makers, i.e. Homo faber. They will have a chance to gain an understanding of the relationship between design and culture, as well as the idea of design as a “rational method” and a mode of implementing “systems theory”. Students will be able to demonstrate their understanding through class discussions, as well as projects.

Grading Criteria and Assessment Methods / Graded Assignments
Students in this course will be assessed based on their performance in a series of projects:
• The first is a minor project (15%), which gives a student a chance to learn how critiques are done in this class.
• The second and third projects (each worth 35%) are major projects — seriously critiqued, with students being expected to have strong design insights.
• In addition, all students are graded based upon their class participation, comprising various exercises and weekly discussions (15%).
• All students are expected to arrive in class each session having done all the readings, and carried out the required preparatory work.
• Consistent attendance in all class sessions is required and absences will result in a marked decrease in a student’s grade.

Program Objectives
All undergraduate degree programs at the University of the Arts require a substantial commitment (42 credits) to work in the liberal arts and sciences. This work ensures that students develop critical thinking, communication and literacy skills, as well as a broad cultural literacy. The Liberal Arts curriculum reflects the University’s conviction that a broad general education is essential for the education of artists, designers, performers, and writers, as it is for all citizens in a complex and ever-changing world.
[— from the University of the Arts Course Catalog]

Academic Integrity Policy
Academic Integrity is a commitment to the core values of honesty, trust, fairness, respect and responsibility and their role in ensuring the health and vigor of the academic and creative community. Please note that students are encouraged to contact their instructors and/or the University librarians for guidance in maintaining academic integrity in their work… Violations of academic integrity are considered to be acts of academic dishonesty and include (but are not limited to) cheating, plagiarizing, fabrication, denying others access to information or material, and facilitating academic dishonesty, and are subject to the policies and procedures noted within this catalog, including the Student Code of Conduct and the Student Judicial System. Please note that lack of knowledge of citation procedures, for example, is an unacceptable explanation for plagiarism, as is having studied together to produce remarkably similar papers or creative works submitted separately by two students.
[— from the University of the Arts Course Catalog]

Absences
Consistent attendance in all class sessions is required and excessive absences will result in a marked decrease in a student’s grade. Late work is not accepted in this course.

Technology
No specialized technology is required for this course.

Class Format
This is a combined lecture, discussion, and studio class. Students should come to each class session prepared to analyze the material that they have read as homework. They should also take notes on all material discussed in class. Self-discipline and an autonomous good work ethic are paramount.

Contacting the Instructor
The best way to contact the instructor is to speak with them in person either right before or right after class.

Educational Accessibility
Students who believe they are eligible for course accommodations under the ADA or Section 504 or have had accommodations or modifications in the past, should contact the Office of Educational Accessibility at 215‐717‐6616 or dathomas@uarts.edu to arrange for appropriate accommodations and to obtain an accommodations letter, if applicable. Faculty can provide course accommodations/modifications only after receipt of an approved accommodations letter from the Office of Educational Accessibility. Accommodation letters can be provided to qualified students at any time during the semester, but grades earned before the letter is received by the faculty cannot be changed.

Course Grid
The course is built upon a grid of historical eras, (three) different design fields, and the selected topics — this is outlined in the figure below:

Required Materials (to be brought to every class session)
o Reading packet (to be purchased as indicated by the instructor)
o Sketchbook (this will be for all notes and projects)
o Pencils, Pens
o USB drive or External drive

Course Grid
The course is built upon a grid of historical eras, (three) different design fields, and the selected topics — this is outlined in the figure below:

<< COURSE GRID: CLICK >>

Outline and Schedule
Each week, there will be readings with questions, as well as in-class videos, projects, presentations, etc. For each topic, the readings, etc. that are shown are due for that day. This syllabus is subject to change.
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DH 13: Visual Communication 20th Century 11/30/16

Modernism in a Painting
The Bauhaus
A new Visual Language
Brands
VC for ages
Type is not all the same
Master type
Not Just a symbol
Early application
Old Signs and older stones
Campbell kids
When brands are too good?
What’s the big deal? It’s all the same, no?

Italian Dynamism, was about motion
Russia with Love, and kisses
Lasting mark around the world

VIDEO: Montage
VIDEO: Untouchables
VIDEO: Verite
VIDEO: “Stadsmuziek” Akko Goldenbeld
READ: History of VC

ASSIGNMENT:
Final – Major Project No. 2

DH 09: Cartography – Map to the Renaissance 10/27/16

Don’t forget the buildings…
More
Time
There’s a starman waiting in the sky
First Atlas
Is this a map?
Survey the land
Egypt and Geometry
One of the oldest
World according to Greeks
Silk Map
Tabula
Medieval World
The age of exploration
Top 10 Maps

Pictograph to actual “writing”
Before Printing Press. Tiresome but lovely….
Pre printing
The mother of all printing presses.
Significance of the mint
My man, Johanne
Holy MT!
Who paid for this?
Luther and the broadsheet and how he went “viral”
Changed the world?

READ: Luther went “Viral”
VIDEO: Watch