LEARNING OUTCOMES
On successful completion of the course, students will be able to:
- identify, understand and use a range of selected critical perspectives on contemporary design in terms of relationships between its production, consumption and the work of designers;
- demonstrate knowledge of the interactions of economic, social and political processes in the shaping of design cultures and the active roles of design cultures among these;
- independently engage critical and theoretical viewpoints in the analysis and discussion of selected artefacts and topics;
- research, understand and articulate contemporary cultural processes relevant to their design interests.
Credits: 3
Schedule: 22.04.2024 - 03.06.2024
Teacher in charge (valid for whole curriculum period):
Teacher in charge (applies in this implementation): Guy Julier
Contact information for the course (applies in this implementation):
CEFR level (valid for whole curriculum period):
Language of instruction and studies (applies in this implementation):
Teaching language: English. Languages of study attainment: English
CONTENT, ASSESSMENT AND WORKLOAD
Content
valid for whole curriculum period:
Through lectures, discussions, guest talks, readings and short assignments, this course introduces and explores some of the wider contexts of contemporary design culture. In particular, we focus on how global and local systems of meaning in design interact. We explore some of the economic, political and social forces that shape these different scales and historical processes of design.
The course focuses on the relationships of global and local processes in design. How has globalisation affected the 'presentation' and identities of localities -- countries, regions, cities through products, services and experiences? Where does design take place in the networks of goods and capital? How have colonial systems of power shaped particular ideas of what design is and should be? And how might these be questioned and contested?
Having looked at design in terms of more orthodox, dominant cultural understandings, here we are also concerned with 'low', everyday or subcultural expressions of design culture. How do cultural practices that are independent of dominant orthodoxies function? What characterizes these? How do such localised activities and meanings interact with global flows of signs? How do everyday practices shape design cultures?
The overall idea, then, is that we get an enriched understanding of global-local, high-low relationships in design. We cannot cover all the debates, issues and possibilities that are available within this rubric. But, hopefully, we can begin to unpick some key questions that you can take back into your studies and your understandings of design and culture.
Design Culture Now is one of the four compulsory courses for all Master's students at the Department of Design.
applies in this implementation
SMALL REVISION
In terms of content, for Period V, 2024, we shall be focusing less on the global/local high-low relationships, colonial systems of power etc. in the 2nd and 4th paragraphs. Instead, we will be concentrating more on thinking about the relationships of design, production and consumption. However, students can work this through different objects, scales and locations where perhaps some of these issues will come up.
The course is very short, so we can't cover too much!
Assessment Methods and Criteria
valid for whole curriculum period:
Passing of the course requires attending and participating in contact teaching sessions and completing of course assignments. Assessment is on the basis of the presentation of a portfolio of work undertaken for the course. This may include reading and analysis assignments, presentations and written work. In case of independent study, the assessment is based only on course work.
applies in this implementation
SMALL REVISION
The 'portfolio of work' will, in fact, be a short piece of writing that students determine themselves. It should relate to the course content and act in a synthesising way -- bringing together ideas and learnings from the course lectures and seminars.
Workload
valid for whole curriculum period:
The course is organized on Monday afternoons during Period V and the following evaluation week. Study methods include attending lectures, participating in tutorials and preparing for class through assigned videos and readings. The course involves group and individual work.
Passing the course requires attending 80% of contact teaching sessions. Absence during contact teaching may be made up by completing an assignment agreed upon with the teacher. Students unable to meet the required level of attendance (for example due to exceptional circumstances such as health or residence issues), should contact the teacher as far as possible in advance to explain and discuss completion.
There is an option to take the course without attendance. This must be agreed with the teacher and will only be granted, again, in exceptional circumstances such as health or residence issues or for mandatory, credit-accumulating activities for programmes (e.g. a conflict with other programmes' or courses' timetabled activities means that you cannot attend some or all of the teaching sessions). A full explanation of your reasons for taking it without attendance must be given and agreed. This explanation should be accompanied with documentary evidence. Students who undertake the course without attendance will have to undertake a more extensive course project without tutorial support.
3 ECTS is equivalent to an 81-hour workload.- Contact teaching 28h
- Independent studying 40h
- Personal reflection and self-assessment 12h
- Course evaluation 1h
applies in this implementation
Contact teaching constitutes less than a third of the total dedicated time. Students should use other time for follow-up reading and thinking towards the main assignment.
DETAILS
Study Material
valid for whole curriculum period:
Course literature will be announced in advance in MyCourses. Indicative reading:
Du Gay, P., et al. (2013). Doing cultural studies: The story of the Sony Walkman, 2nd edition. London: Sage
Edensor, Tim (2002). National identity, popular culture and everyday life. London: Bloomsbury Publishing.
Hebdige, Dick (1988) Hiding in the Light: On Images and Things. London: Comedia. chp.4* Object as image: the Italian Scooter Cycle , pp.77-115.
Julier, G. (2014) The Culture of Design, 3rd edition. London: Sage.
Julier, G. (2017). Economies of Design. London: Sage.
Skov, L. (1996). Fashion Trends, Japonisme and Postmodernism: Or What is so Japanese about Comme des Garçons?'. Theory, culture & society, 13(3), 129-151
applies in this implementation
The courses materials are made up of:
- Weekly lectures.
- Weekly seminar discussions.
- Plentiful support material in MyCourses.
Substitutes for Courses
valid for whole curriculum period:
Prerequisites
valid for whole curriculum period:
FURTHER INFORMATION
Further Information
valid for whole curriculum period:
Teaching Language : English
Teaching Period : 2022-2023 Spring V
2023-2024 Spring VEnrollment :
Registration for Courses in Sisu. Minimum students 50. Maximum students 160.
Priority order to courses is according to the order of priority decided by the Academic committee for School of Arts, Design and Architecture https://www.aalto.fi/en/services/registering-to-courses-and-the-order-of-priority-at-aalto-arts
Details on the schedule
applies in this implementation
Please consult the timetable.
22.04-13.05 sessions run 1315-1430 lecture, 1445-1615 seminar, 1615-1710 independent study time
20.05 1315-1600 lectures
27.05 1315-1600 writing workshops in seminar groups
03.06 Independent study