Contaminations between Architecture and Art: Oswald Mathias Ungers and Artistic Collaborations

Designing with differences, cross-disciplinary collaboration in transport infrastructure planning and design

Communication design students working in new media or digital media fields require training in the design process to create powerful and professional projects. However, even though collaborative design work is common in media industries, many graduate courses are not structured to allow collaborative work in the classroom. In this paper, I present design charrettes as a pedagogical method that stimulates and supports collaborative student design work. Design charrettes are intense periods of design activity most commonly associated with architectural and environmental studies. I have adapted design charrettes in order to achieve particular learning outcomes in multimedia design courses. This paper is a theoretical reflection on using charrettes to teach the design process. The pedagogy behind my use of charrettes is informed by socio-cognitive learning theories. In my multimedia design courses, graduate students participate in charrette activities to experience the design process, to collaborate in project-based design activities, to seek a range of solutions to design problems, and to gain mastery of design research techniques.

This paper presents the findings from a study into the current exploitation of computer-supported collaborative working (CSCW) in design for the built environment in the UK. The research is based on responses to a web-based questionnaire. Members of various professions, including civil engineers, architects, building services engineers, and quantity surveyors, were invited to complete the questionnaire. The responses reveal important trends in the breadth and size of project teams at the same time as new pressures are emerging regarding team integration and efficiency. The findings suggest that while CSCW systems may improve project management (e.g., via project documentation) and the exchange of information between team members, it has yet to significantly support those activities that characterize integrated collaborative working between disparate specialists. The authors conclude by combining the findings with a wider discussion of the application of CSCW to design activity—appealing for CSCW to go beyond multidisciplinary working to achieve interdisciplinary working.

Drawing upon ethnographic moments recorded at two of the most prominent art world institutions, the Venice Biennale and the auction house Christie's at its New York headquarters, this article reflects on what it means to investigate the global art world ethnographically and interrogates some of the current trends within the anthropology of art. In particular, the article shows the potential of re–focusing the attention on the interconnectedness of art-world actors, institutions and objects in time and space in order to produce expansive narratives on the art world which reflect not only how art is produced in the present and in the past but also its circulation and commerce. Moreover, by challenging the anthropology of art's focus on the anthropologist–artist dyad, their practice and collaborations, the article shows how a renewed engagement with the art world as an ethnographic field site brings about possibilities for a renewal of anthropology itself.

This article presents the process of commencing inter-cultural interactions and artistic collaboration between Balinese and western photographers through photography. In the beginning, the photography project only showed visual record of the Kings, the royal family along with the royal government apparatus in Bali. Beginning with Gregor Krause, a colonial doctor who practiced photography, the others photographers then began exploring nature, culture, art and Balinese society into recording their photographic works. The activity then continued to be an artistic collaboration between westerners as photographers and Balinese as photo models. Not only that, the collaboration also extends to the incorporation of many western cultural elements into photography properties. In addition, the models that appear in photographic works are not only from the royal community, but begin to spread to ordinary residents, artists and their environment. Through the bridge of photography, many western artists combine their ideas with Balinese artists to design and create works of art in the needs of photographic documentation. The collaborative work then attracted tourists to Bali to enjoy the exotica of Bali which was first collaborated by western photographers and writers.

What does it mean to author or coauthor a scholarly paper or a painting? What conditions have to be fulfilled for authorship status to be granted? Must every researcher on a massively coauthored, high-energy physics paper have penned at least n words to warrant the appellation "coauthor"? Is the touch of the artist necessary for authorship to be granted, or is conceiving and superintending the production of the work sufficient? What kinds and scale of contributions warrant acknowledgment? This article explores authorship and attribution practices in the sciences and in the world of art.

Research on platform-based production systems for house-building has focused on production and manufacturing issues. The aim of this research is to explore how the architectural design process contributes to the industrialised house-building industry from the perspective of creative design work. It also aims to describe how constraints affect architectural design work in the engineer-to-order context, when using platform-based production systems. Architects with experience in using platform-based building systems with different degrees of constraints were interviewed regarding creative aspects of the design work. The interviews, together with documents relating to platform constraints, were then analysed from the perspective of artistic and engineering design theories. The results show the benefits and issues of using platform constraints, both with prefabrication of volumetric modules, as well as prefabricated slab and wall elements. The study highlights a major research gap by describing how architectural work, from both the creative artistic and engineering design perspectives, is affected by constraints in the building platform: (1) the architectural design work goes through a series of divergent and convergent processes where the divergent processes are explorative and the convergent processes are solution-oriented; and (2), there is a trade-off between creativity and efficiency in the design work. Open parameters for layout design are key to architectural creativity, while predefinition supports efficiency. The results also provide an understanding of the potential for creativity in artistic and engineering work tasks through different phases in design, and how they are related to constraints in the platform. The main limitation of the research is the number of interviewed architects who had different background experiences of working with different types of platform constraints. More studies are needed to confirm the observations and to understand how creativity and efficiency interact with divergent and convergent design processes.

In recent years, there has been an increasing trend of contemporary artists and designers blurring the line between fine art and graphic design, leading to a fascinating intersection of the two fields. This paper provides an in-depth analysis of this intersection by exploring the works of selected contemporary artists and designers who have integrated fine art principles into their graphic design practices. Through an analysis of their approaches and techniques, this paper demonstrates how these artists and designers have challenged traditional notions of design and art and created a new aesthetic language that bridges the gap between the two fields. By comparing the visual language and aesthetics of fine art and graphic design in their works, this paper highlights how the boundaries between the two fields have become increasingly blurred, leading to new forms of creative expression. This paper further examines the impact of this intersection on the art and design industry, including its influence on design trends and practices and its impact on the perception of design as a field and its status in the art world. By analysing the advantages and limitations of integrating fine art into graphic design, this paper provides insight into the benefits and challenges of this trend and its potential implications for the future of the industry. This paper contributes to understanding the intersection of fine art and graphic design by exploring its impact on the contemporary art and design landscape and providing a framework for further exploration and integration of fine art principles in graphic design. By highlighting the work of contemporary artists and designers who have pushed the boundaries of traditional design and art, this paper showcases the exciting possibilities that arise from this intersection and offers a glimpse into the future of the art and design industry. In recent years, there has been a growing tendency of modern artists and designers to blur the barrier between fine art and graphic design, leading to a fascinating confluence of the two areas. This has resulted in a fascinating junction of the two fields. This article presents an in-depth investigation of this confluence by examining the works of a selection of modern artists and designers who have incorporated fine art concepts into their graphic design methods. These artists and designers come from a variety of artistic backgrounds. This article explains how a group of artists and designers have challenged traditional concepts of design and art and how they have built a new aesthetic language that bridges the gap between the two areas through a study of the methods and techniques that the group has utilized. This article highlights how the boundaries between the fields of fine art and graphic design have become increasingly blurred, leading to new forms of creative expression by comparing the visual language and aesthetics of fine art and graphic design in the works of both fields' respective practitioners. In this article, we investigate the impact that this junction has had on the art and design sector, including its influence on design trends and practices and its impact on how people see design as a discipline and its position in the art world. This study offers insight into the benefits and problems of this trend, as well as the possible consequences it may have for the future of the industry, by analysing the advantages and constraints of incorporating fine art into graphic design. This paper contributes to the understanding of the intersection of fine art and graphic design by examining the impact that intersection has had on the landscape of contemporary art and design and by providing a framework for further exploration of the intersection and incorporating fine art principles into graphic design. This article highlights the work of contemporary artists and designers who have pushed the boundaries of traditional art and design to demonstrate the exciting possibilities arising from these two fields. It also provides a glimpse into the future of the art and design industry.

The pressures of funding and publishing requirements often make it difficult for researchers to pay close, detailed and reflexive attention to methods as an integral part of their research work. This paper reports on a project about women's perceptions of health, health risks and osteoporosis which was designed explicitly to explore methodological and epistemological issues as they arose and were renegotiated during the research. Three experienced qualitative researchers carried out equal parts of this small piece of research, and reflected on how faced with the same topic and conditions they each did their interviewing and analysis. Through reflexive attention to their feelings of dissatisfaction with the quality of this qualitative work the authors highlight the importance of effects of project design and collaborative working on both the social and material relations of the interview itself and the experiential and contextual depth of the data. The paper concludes with a consideration of its implications for teamworking in qualitative projects.

Pavel. E. Shcherbov's caricatures were first brought to the public's attention in the satirical magazine “The Jester” in which he had published them for several years. The cartoons of this period led P.E. Shcherbov to serious success, while their chosen theme - the artistic environment of St. Petersburg at the turn of the century - brought him fame. The research is aimed at studying the artist's collaboration with this magazine through the cartoons themselves as well as his relationship with the magazine's editorial board. It records the assessments, memories and reactions of the contemporaries about Shcherbov's cartoons published in “The Jester”. The study found that the reactions were opposite at times, from sharply negative to rave reviews. A subsequent analysis of the influence of the cartoonist's works on the art world is carried out. Within this article Shcherbov's caricatures that were published in the magazine “The Jester” and other themes that the artist used are identified. As a result of the research, a close cooperation between Shcherbov and the magazine “The Jester” is revealed as well as the conclusion that the cartoonist contributed to the rise of the satirical publications, whilst his works generated great public interest, having influenced further decisions and actions of his contemporaries, is made.

Architects obviously do architecture work, while technical consultants and engineers handle the detailed design required to accomplish project goals. This seems a reasonably simple definition, but the devil lies in the details - especially in smaller institutions where people might perform a mixture of architecture and design work. This debate occurs frequently within the architecture profession. The difference between architecture and design work is also an important topic in the professional development of HP Services employees, because the training and certification that individuals will take to work as an architect differs from what they'd take to work as a technical consultant or engineer.

ABSTRACTThis article investigates the diverse artification strategies used by luxury fashion brands to strengthen their connection with the art world and emphasises how these strategies infuse objects, practices, and brands with artistic value. Using a theoretical framework, the research classifies the Altagamma and Comité Colbert brands into distinct clusters representing various stages of the artification process, from early exploration to full integration of artistic practices. The study analyses the ways in which these stages reflect the brands’ historical evolution and strategic investments in artification, particularly in response to market threats. Between 2019 and 2024, 81.25% of the 39 brands examined in this study engaged in at least one artistic activity, such as artist collaborations, art installations or incorporating artistic elements into collections. This study offers new insights by expanding the understanding of artification and classifying underexplored connections between luxury brands, artists and non‐profit cultural institutions. It reveals how brands, despite differing approaches, recognise artification as a key strategy in enhancing identity and positioning in the luxury market.

Collaborative artistic processes have become increasingly popular in the past decades. Different forms of community art, relational art, and participatory art, as well as artistic collaborations, and art collectives have occupied a central role in the art world. Does this collaborative taken on art, with its focus on the artistic process, entail a move towards openness and communality, or is it rather an obligation put on us? Is the growing interest in the artistic process a fruitful approach that enriches our understanding of art, or is it an unfortunate sign of art being subordinated to capitalism that pressures us to produce constantly new products, without critical reflection or qualitative criteria? This exposition investigates this dialectics between artistic processes and art objects by following my own research process on collaborative writing.

This essay deals with issues of citizenship, artistic labor, and belonging in the context of the Dominican Republic. It examines the collaborative work of the Colectivo Quintapata to understand how artistic collaboration is used as a way for generating social transformation and reaching audiences beyond the artistic medium. Analyzing art installations, public interventions, and socially engaged art pieces produced by Quintapata between 2009 and 2014, this essay argues that artistic collaboration works in the case of Quintapata, not so much as a formula but rather as a flexible tool employed to face situations of economic and institutional precariousness, extending the outcomes of each project beyond its original temporality and audience.

An illuminating history of the intimate group around Bertolt Brecht which produced some of the most important works of 20th-century drama, literature, and theory while in exile from Nazi Germany. Bertolt Brecht is recognized as one of the great literary figures of the 20th century. But was he a charismatic genius or an exploitative plagiarizer, and how did his commitment to socialism inform his art? For decades, opinions on Brecht have been polarized by these questions. Building on new archival research and previously unconsidered sources, Katherine Hollander offers a fresh historical perspective by de-centering Brecht and contextualizing him within a small group of peers. This book investigates how the members of this group understood their collaborative work in the context of their commitments to fighting fascism and building socialism. It illuminates a community that coalesced first in Vienna and Berlin and intensified as it moved into exile in Denmark after 1933. Beginning not with Brecht but with the actor Helene Weigel and her mentor, the Danish feminist Karin Michaëlis, the book takes seriously the women of the group and their ideas about socialism, gender, collaboration, and art. By the time the group shifted its center to Denmark, it included dramaturg and editor Margarete Steffin and social philosopher Walter Benjamin, and saw an increase in productivity and interdependence. Through careful study of writings and correspondence, this book reveals not just how the group worked but how they understood that work as an embodiment of their evolving ideas about socialism, antifascism, and collectivity. It suggests the understudied ways that collaboration has contributed to intellectual history, dissolving the false binary around Brecht and making way for new understandings of co-creation.