مجله دستاورد
پیاپی 36 (زمستان 1395)

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 design, 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, automotive 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.

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.

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« in Iranian 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.

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.

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. The discussion on it dutifully covers environmental, 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 dis¬cussed, 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.

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 multidimensional 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.