Adaptive Reuse in Craft, Design, and Art in the City

Adaptive Reuse is the use of buildings, materials and products for purposes other than originally intended. Although adaptive reuse has a long tradition in arts and crafts, more recently environmental awareness and design for sustainability have revitalized the role of a trash to treasures approach, providing a wide array of contemporary urban design, craft and art which are important part of today’s cities. Supported by a significant photographic documentation of examples, this paper explores some of the roles of adaptive reuse in craft, design and art in the urban environment, focusing on repurposed objects found in urban public spaces. An initial background discusses the relationships of crafts and design in the rural and urban contexts, in order to define the city since the industrial revolution. The concepts of cultural identity and sustainability and their relationship to crafts and design are also discussed. Subsequently diverse examples from architecture, crafts, design and urban arts illustrate diverse modes of adaptive reuse at the urban, human or hand scale, mainly focusing on adaptive reuse of buildings and urban structures, as well as objects found in public spaces in the city, such as public furniture and public art (in exteriors) or fixtures as furniture, lights and art (in interior spaces). Main conclusions discuss the different roles of adaptive reuse, craft and design in the contemporary city’s built environment through a categorization based on physical scale, context and use, namely within the types of repurposed items here illustrated and mainly within 4 categories, as follows: 1) Railways, 2) ISO Shipping Containers, 3) Gas tanks 4) Unused industrial equipment and others.

Dimensions of Entrepreneurship in Design Education: A Review of Curriculum Models for Emerging Creative Practice

Design practice is increasingly recognised for its capacity for strategic innovation in transdisciplinary arenas. In contemporary professional contexts designers are contributing to progressively broader areas of service design, strategy and design for social innovation. In response, leading design education institutions are changing significantly in structure and pedagogy to align to changes in practice, meet market demand, and ensure economic sustainability. Supported by national strategic priorities and global design communities that recognise design as a significant driver of innovation, higher education institutions are developing curricula with an emphasis on strategic, creative and entrepreneurial graduate capacities. This paper will examine scholarship that considers the relationship between enterprise and creative capacities and the dimensions of entrepreneurship that are now being developed in diverse models within higher education. Reviewing the structural and pedagogical approaches that these higher education institutions are using to develop entrepreneurial graduate capacities, this research will consider further opportunities for more sustainable, effective, and relevant curricula and the impact this has on design studio in higher education.

The Effect of the Spirit of a Space on Animation Design

Space is not a simple definition framed as an architectural place or a limited area; space is more extensive. In art fields such as cinema and animation, space is a living and evolving element in terms of narration. Space can function in different forms. It can either be the main theme of the narration or decor/background of the story. It may act as a preventive element affecting the events and fates of the characters in the story while it may play a role as an assistive element. Therefore, space becomes a main character in the storyline. Space design is a part of the concept space design and has a dramatic function during the writing process. Thus, it becomes a main element of the plotline. Some artists in the animation field will travel to other countries and geographies to experience the spirit of a certain space and transfer those impressions onto the story. Through the example of a student animation movie named “Our Eskişehir” completed in an introduction to video course, this study examines the effects of a space and its influence on the spirit of spaces and stories of spaces in relation to animation design (space-character and story design).