text
article
2017
per
Dastavard
University Of Art
1025-0840
26
v.
36
no.
2017
1
2
http://dastavard.journal.art.ac.ir/article_345_2e9116eb53013d864d3b5db012b6d741.pdf
محمد
رزاقی
مدیر مسئول و سردبیر نشریۀ دستاورد
author
text
article
2017
per
Dastavard
University Of Art
1025-0840
26
v.
36
no.
2017
4
5
http://dastavard.journal.art.ac.ir/article_338_208c7b3d8b0cc7b9012b8c091dd49ae2.pdf
An Analytical Survey on Two Decades of Dastavard Articles (1370-1390)
Sahar
Mohammadi
Master of industrial design,Alzahra University
author
text
article
2017
per
This paper tries to survey the articles published in Dastavard from 1373 up to now. The research method is analytical-descriptive and the statistical population is the articles published in Dastavard during 22 years of publication. A total of 384 titles have been studied. The derived information has been categorized based on three general categories: "authors", "contents", and "executive managers". The "authors" have been studied according to "gender", "scientific status", "discipline", "university relation", and their "paper frequency". The results show that male, students, industrial rdesign, and University of Art, has the most contribution. The "contents" have been divided into 10, according to their types: research, extensive, reading, collecting, introduction, report, interview, query, discussion and translation; and to 24 based on their subjects: educative, toys, ergonomics, material and production methods, identity, education in industrial design, technology, research, creativity, semiotics, Iranian and world industrial designers, automative design, design process, world industrial design, discussion, challenge room, theory of design, styles, sustainable design, basics, urban furniture, production, interview, and report. According to the results, the content type of articles are mostly dedicated to extensive, report, introduction, and translation; and as far as the subject is concerned, the articles are mostly about report and theory of design. Finally the evolution of articles is studied over 35 issues.
Dastavard
University Of Art
1025-0840
26
v.
36
no.
2017
6
13
http://dastavard.journal.art.ac.ir/article_339_7a44977ff3f29c46b4b3ef6406d4123e.pdf
dx.doi.org/10.30480/dastavard.2017.339
A Review on the Design of Desks and Chairs for Primary School Students
Mohammad Rahim
Aghareb-Parast
Industrial Design. MA
author
Mohammad
Razzaghi
Senior Lecturer, Faculty of Applied Arts, University of Art
author
text
article
2017
per
This paper reviews some articles on the design aspects of student desks and chairs in primary schools. There are so many articles on ergonomic and anthropometric aspects of student desks. We classified the papers in two main categories: the first includes papers debating existing problems of student desks; the second suggesting frameworks for designing proper products and appropriate methods of seating during studying at schools. Through the analysis and summing up the results of the two, this study tries to give some suggestions for designing school desks and chairs.
Dastavard
University Of Art
1025-0840
26
v.
36
no.
2017
14
23
http://dastavard.journal.art.ac.ir/article_340_32b3860ddea6b6025b67019fc27c6670.pdf
dx.doi.org/10.30480/dastavard.2017.340
Identifying the Iranian Design Criteria in Regard to the Global Need
Mostafa
Tohidifar
Philosophy of Art. PhD Student
author
text
article
2017
per
This paper tries to find the original Iranian Design Principles, through studying Dumezil, Folts, Rajaie, Kabiri, and others who conducted researches on Iranian National Identification. The main criterion of Iranian Identity is «Unitarianism» which can be traced in Iranian Design, and in different ages other criteria gathered around it. Moreover «Openness» inIranian Culture, make it much easier for them, to adopt design elements dynamically from their neighbor cultures. As a result, this openness will solve the problems of Iranian society significantly. This characteristic of Iranian culture, represents Iranian hospitality in Globalization Dialogue.
Dastavard
University Of Art
1025-0840
26
v.
36
no.
2017
24
31
http://dastavard.journal.art.ac.ir/article_341_61ec4a59e73f678a0e28423b4dedc27c.pdf
dx.doi.org/10.30480/dastavard.2017.341
Mascot and Anthropomorphism in Branding
Mahbube
Mazarei
Industrial Design. MA
author
Mohammad
Razzaghi
Senior Lecturer, Faculty of Applied Arts, University of Art
author
text
article
2017
per
Today, customers are constantly bombarded with masses of goods and services. So, the process by which customers decide which product, amongst others, to purchase is vital to all trades and businesses. If customers can locate their values and expectations, successfully encoded within the products or services, they are likely to purchase the commodity matched with their own desires. Anthropomorphism effects product/service design by easing customers’ decision-making process through which their understanding is going to be directed towards more product attachment. Mascot is a manifestation of anthropomorphism, which can be embodied in the form of either humans, animals or objects and thanks to the anthropomorphic manifestation, mascot will somehow guarantee its presence in customers’ mind for a longer period of time. In this review paper, the importance of anthropomorphism is discussed within the context of competition and branding in general and then, the role of mascot in anthropomorphic branding is also noticed. To that end, a full battery of articles, related to branding, mascot & anthropomorphism were reviewed, so that a nexus can be established between the three important yet seemingly separate concepts, proving that anthropomorphic mascots can be beneficial for trades and also for educational institutions like universities and colleges.
Dastavard
University Of Art
1025-0840
26
v.
36
no.
2017
32
39
http://dastavard.journal.art.ac.ir/article_342_874cb2f446c6c34a15fb1d25488ead37.pdf
dx.doi.org/10.30480/dastavard.2017.342
Design Culture and Dialogic Design
Ezio
Manzini
Honorary Professor, Milan polytechnic
author
Neda
Amiralaei
University Of Art
author
text
article
2017
per
The question of culture is virtually absent from the debate on contemporary design and especially from what in this paper I refer to as emerging design: a problem-based, solution-oriented design, the defining characteristic of which is not the products, services, and communicative artifacts it produces, but the tools and methods it uses.1 The discussion on it dutifully covers envi-ronmental, economic, and social issues, together with those of participation and the environmental, economic, and social effects of its results. Certainly all these aspects are very important, but the absence of a debate on emerging design’s cultural dimension is a serious limitation that prevents it from becoming the agent of (cultural and therefore also social and environmental) change that it could and indeed should be. Meanwhile, although rarely discussed, emerging design also has its own culture—a culture that is rather limited and limiting precisely because of this lack of debate. In this paper I call this culture solution-ism and participation-ism. To go beyond this somewhat reductive culture, we need to return to the discussion on issues that are or should be typical of design: from the criteria by which to orient and assess the quality of local solutions, to the broadest visions of the world toward which we work. This discussion must be undertaken through a dialogic approach, in which the various interlocutors, design experts included, interact as they bring their own ideas and define and accept their own responsibilities.
Dastavard
University Of Art
1025-0840
26
v.
36
no.
2017
40
45
http://dastavard.journal.art.ac.ir/article_343_6c00467da5092317e763f342665a96ec.pdf
dx.doi.org/10.30480/dastavard.2017.343
Da Vinci, Khayyam and Industrial Design
Mostafa
Mirfendereski
Industrial Design. BA
author
text
article
2017
per
Leonardo Da Vinci's name has been integrated to Industrial Design in a way that his date of birth has been called World Industrial Design Day. He was an inventor, painter, sculptor, architect, scientist, musician, mathematician, engineer, geologist, astrologist, author, historian, etc. But why is he an industrial designer? Probably because a designer should be a multi-dimensional character, from one side related to art and design, and from the other side to industry and technology. A designer is responsible to make change in his environment. Leonardo found it 500 years ago and Omar Khayyam 500 years before him. Khayyam is one of the most intelligent mathematic genius all over the world, and at the same time one of the greatest poets of all times. The main point is to compare the eras, the two genius lived in. Take into consideration that in Khayyam's time, painting, sculpture and drawing were symbols of blasphemy, we understand how poetry was the most complete art to the Iranian peoples at that time. In this note I tried to know the two genius in their own specific social and historical contexts.
Dastavard
University Of Art
1025-0840
26
v.
36
no.
2017
46
49
http://dastavard.journal.art.ac.ir/article_344_ac0791f5034842a20d0852d8fb41e6b5.pdf
dx.doi.org/10.30480/dastavard.2017.344
محبوبه
مزارعی
author
صادق
کرایی
author
text
article
2017
per
Dastavard
University Of Art
1025-0840
26
v.
36
no.
2017
50
51
http://dastavard.journal.art.ac.ir/article_346_729c3b4fc1557e90e4b12cfe70c336ff.pdf
text
article
2017
per
Dastavard
University Of Art
1025-0840
26
v.
36
no.
2017
57
60
http://dastavard.journal.art.ac.ir/article_347_9a2663704dc476878b2e7e76506babda.pdf