DESIGN CULTURE

Design Culture in the 21st Century

Design Culture in the 21st Century

Literature Review

Even in the emerging culture of design important theoretical contributions that emphasize and highlight the growing interest in the teachings coming from the biosphere and the biomimetic approach to innovation. Among the scholars who, for many years, concerned with issues of design for environmental sustainability is broadly shared awareness that, in order to transform our model truly sustainable development, are needed "radical innovations" and "incremental", which is necessary "to jump", as nature does, and not linearly. As stated several times Ezio Manzini in his writings, we need a "systemic discontinuity," a systemic change that involves some form of rupture of continuity with respect to the given situation, groped for achieving the objectives of environmental sustainability (Barab, Sasha, et al, 2004, p. 254-268).

Moreover, it is also shared the conviction that it is increasingly necessary to focus the debate, the concept of "strong sustainability", with particular attention to quality, as well as to the amount of natural capital available to preserve and regenerate for future generations (Barab, Sasha, et al, 2004, p. 254-268).

Design and Culture: Do the same product?

When it comes to interior design and "design economy" as a specific sector of the economy in general, it is appropriate to ask how the economy relates to the scope of the design economy and culture specific production and market what is called cultural goods, fine and performing arts. What distinguishes the product design as an object of sale, as an economic phenomenon, the product created by an artist or musician? How to apply the "economy of design" scientific capital in the economy of culture?

Let's try to define the product design. Cultural benefit, of course, like any other, has a certain utility value, and based on that value, correlated with the budget of the consumer; it is bought or sold (Binder, Thomas, 2005, p. 12-13). Exactly the same can be said about the design product. As a cultural good, and design the product in its value is not only material and labor, but the idea and form an important part of this value. It seems that the difference between the product designs is, first, in its broader scope. Obviously, over every object that surrounds us, worked a designer, that is, for almost every man-made parts in the environment of human existence found the author, who gave details of the shape, color, image, form, which built its functional content (Binder, Thomas, 2005, p. 12-13). Therefore, from this point of view of a designer - not just a man painting the door handles and toothbrushes in the form of tongues of flame (F. Stark). So if we're talking about the environment in which we offered for the consumption of cultural goods, in some measure equivalent designer-decorator gallery, architect and illuminator of the theater and radiodidzhey (Binder, Thomas, 2005, p. 12-13). Their task - to create a "pre" shell cultural benefits, but the DJ, the illuminator, designer galleries for each exhibition, ...