یاسمن حاجیان فروشانی

Up to the past decades, the knowledge of “industrial design” was considered the fundamental component of every manufacturing process seeking the goal of manufacturing for meeting the users’ basic needs. Nowadays, it is not enough to only meet the needs. Rather, it is so important to consider the way of meeting the needs, its quality, and expectations of all the relevant agents. “Technical design” and “scientific research” can both lead to knowledge generation. However, they are different. Designers can simultaneously generate knowledge as they use that, and they cannot make the scientific knowledge merely applied. Technological knowledge results from an almost artifact-oriented, profitability-centered, and implicit designing process. Meanwhile, it should be noted that technology cannot be considered as only a set of technological products. Technology is an indicator of the human agents’ efforts for making these products usable for their intentions which lead to their surrounding world’s transformation. Therefore, “technological action” can be considered as a kind of purposeful human behavior that is mainly aimed to resolve the practical problems, and “technical artifacts” can be also called the most tangible results of this effort. The mentioned artifacts can play a mediating role, and designers can predict or arrange the relationships that can be created between the products and users. In this way, they can try to persuade users to pay attention to products. However, the function of artifacts has been paid less attention than the biological function, so that there is no philosophy of the “material culture”. Although philosophical studies have paid attention to some special aspects of artifacts, their functions have not been investigated as a significant subject. So, as a technological activity, the basis of industrial design has moved to the three functional values of technical, aesthetic, and symbolic functions that aim to create a sustainable relationship between the products and users. Each of the three values of industrial design can be assessed in terms of determining factors, and it is worth mentioning that a single object can have several function each of which can be studied in the area of the designer and user agents. This goal will be achieved in technical function regarding the material aspects of the artifact. On the other hand, industrial design includes different processes such as “designing” and “usage-related” processes (Use, maintenance and repair, maintenance and rehabilitation) that respectively belong to the capability and/or intention of the “designer agents” and the “user agents”. The “user action” plays a more important role than the “designer action” in determining the product’s technical type, and the “users” (rather than the designers) attribute special functions to an object to make that a proper artifact. Therefore, industrial design processes prioritize the preparation and arrangement of the relationships between the designed technical artifacts and the users. In this regard, this conceptual research aims to investigate the industrial function of industrial design artifacts in manufacturing processes, and it includes two sections. The first part explains the concepts and the research works studying the issues of “function”, and the second part describes the technical function of industrial design products focusing on industrial design processes based on the analysis of the findings of the first part. So, three types of function have been identified including the “design-derived function”, “situation-oriented function”, and “usage-oriented function”. In each of the mentioned types, this study has investigated the agents’ capability, their intention, the function, industrial design-related processes, the function status, and the relevant phenomena. Accordingly, it is inferred that the “action” performed in “industrial design” which depends on human agents’ efforts is “technological”, and it aims to resolve the practical problems. “Technical artifacts” are considered the main result of this effort, and their major components include the function, the use plan, and the physical structure. On the other hand, functional values in industrial design can be classified into technical, aesthetic, and symbolic functions. However, the contribution of the agents of the technical artifacts and especially the “users” to realization of the technical functions determines their type and creates a sustainable relationship with the artifact in terms of the material aspects (rather than the efficiency or concept). The mentioned contribution can be realized in different processes of industrial design including the design-related (the designers’ capability) processes and the use-related (the users’ capability) processes. This research has also explained how to create a sustainable relationship between the agents of these functions and technical artifacts. These findings will be effective in preparation and arrangement of participatory relationships. However, as the agents of technical artifacts, users can play different roles such as a justifier, a passive user, a supervisor, a technical analyzer, etc. each of which can be studied in future research works. Meanwhile, the issue of “technical function” is only one of the three values involved in industrial design. So, the future studies can investigate the aspects, dimensions, and the components of the other functions i.e., the aesthetic function and the symbolic function in terms of the different areas of the agents’ capability.

AbstractHandicrafts as the objective manifestation of popular functional arts with their own original designs have always held a special place as an important factor in the economy of Iran. Given its elevated status as the second factor in GNP growth, extensive support and guidance policies have been implemented for its development with a range of significant effects. It can be stated that values in arts and culture, together with high value-added and power to earn foreign currency, have transformed handicrafts into ideal products for exports.The quality of Iranian handicrafts is entirely influenced by its natural and human geography, and anthropological characteristics. This takes on importance because adopting sociocultural approaches to designing and producing handicrafts and examining the intervention of these products in the context of daily life in any natural and human geography can pave the way for sustainable attitudes towards this industry. As such, the arts and crafts can act as components in examining and interpreting their climatic and geographical regions, beliefs, and local customs. Therefore, maintaining local production, craft production methods, as well as form and performance analysis to increase their survival rate and feasibility for exports are vital requirements for the arts and crafts of all regions.Light and soft, and at times coarse and rough, wicker weaves made of natural plant fibers have been used for centuries. Gilan Province, in northern Iran, is one region which has benefitted from this. Regretfully, vulnerability to the extensively humid climate of the northern regions of Iran has meant that few valid documents have remained behind from its nascent days and exploitation. But according to the written sources of the past few decades, it can be said that Mat- weaving in Gilan Province has enjoyed considerable fame and quality. It was produced mainly in the cities of Rasht and Anzali where marsh plants constitute the main raw material for Mat- weaving in this region.Mat- weaving is also the most common handicraft of Hormozgan Province in southern Iran, because palm leaves are also another raw material for this craft and found in abundance in this region. The towns of Minab, Bashagard, and Bandar Lengeh and its outskirts are important regions for mat weaving, which is mainly carried out by women and girls.Therefore, Mat- weaving in two provinces on waterfronts - Gilan and Hormozgan - is one of the oldest and most important handicrafts which are very popular in these regions due to unlimited access to raw materials, providing the basis for a comparative study. This research aims to recognize, analyze, and match the qualities of Mat- weaving in these two regions by considering their natural and human geographies. By paying attention to the local similarities and differences and climatic aspects which have given rise to diverse production methods, forms, and functions of these handicrafts, one may endeavor to find sustainable solutions to safeguard and maintain their continuity and promote exports. Based on this and to evaluate and analyze the background of the Mat- weaving arts and crafts taking shape in Gilan and Hormozgan provinces against the backdrop of their natural and human geography and the said anthropological characteristics, the present research endeavors to answer the question of: What is the quality of Mat- weaving in Gilan and Hormozgan provinces and its related components such as preparation of raw materials, tools, production methods, popular patterns, range of products, and innovations in production?This is a descriptive analytical research. The library method was used for data collection and field interviews were conducted with local producers to assess their products. Data were subsequently compiled in the descriptive-analytical method so that the local geography, human life, and Mat- weaving arts and crafts of Gilan and Hormozgan provinces were initially introduced. In the next stage, research findings were presented by matching the dimensions of this craft in both provinces. These include: production materials, preparation of raw materials, dominant production method, tools used to prepare the raw materials, tools used for weaving, prominent productions, popular patterns, and production innovation.The results suggest that the rawest materials used in Hormozgan Provinces are “Pish”, “Pangash”, “Sis”, and “Kertak”. The rawest materials used in Gilan Province are “Sub”, “Li”, “Koler”, and “Kulus”. The main stages for preparing raw materials include pruning, drying, and soaking in Hormozgan Province, and harvesting, drying, and soaking in Gilan Province. Tools used in Hormozgan Province to prepare the raw materials include sickles, range of knives, saws, planes, pliers, scissors, hooks, awls, beater combs, and oil rocks. Tools used in Gilan Province are mainly sickles, knives, files, awls, scissors, and hooks. In both provinces, weaving is carried out by hand using hooks. In Gilan Province, mats are woven on wooden looms using wooden mat weaver’s combs, “Katal”, and knives. Outstanding Mat- weaving in Hormozgan Province includes “kanduk”, “Takel”, “Sop”, “Tavizeh”, “Savas”, Jar Lids and Mat. Gilan Province produces an array of baskets, hampers, mats, screens, and other similar items.The motifs of woven mat in Gilan and Hormozgan provinces are affected by their natural and social geography, but in Gilan province, the motifs of woven mat are evident in products that are woven using the warp and weft method. However, the common motifs of the woven mat of Hormozgan province can be distinguished depending on whether they are woven in a spiral way or in a warp. In both Gilan and Hormozgan provinces, innovations in Mat- weaving are classified as “Mat- weaving products with modern functions using traditional weaving methods”, “Mat- weaving products with traditional functions and new weaving methods”, and “Mat- weaving products with modern functions and weaving methods”.The results of this research are consistent with the direct effects of climatic and cultural factors on the continuation and disappearance of the arts and crafts of both regions, changes in their form and content, innovations, and product variety. As mentioned above, climate is an important factor contributing to the production of arts and crafts in every region. The two important natural indicators shared by both provinces in this study include their location on the sea and the dominance of a mountainous topography. But we witness different climatic conditions in these regions due to different geographical latitudes, regional factors, and external atmospheric systems. These differences create raw materials with different physical and chemical characteristics.Also, if we consider culture to be a system of shared values, beliefs, and customs in a community through which people give meaning to their world and use it as a means of finding identity, then culture must be considered as another factor affecting the formation of the arts and crafts and all the relevant issues in these two regions.Hence, to create a better landscape for the comparative study of the ancient Mat- weaving arts and crafts of the said provinces in the present research, components such as raw materials, tools and methods, range of products, and design and production innovations in each province (Gilan & Hormozgan) have been studied to reveal how each of these components are dealt with in their respective climatic-social-cultural contexts and the sociocultural approaches taken in designing and producing handicrafts by the designers, while creating sustainable attitudes in the design and production of handicrafts.The results of this study show the direct influence of natural and human geographies and anthropological characteristics on the continuity, disappearance, changes in form and content, innovations, and product variety of the arts and crafts in both regions. Future research can concentrate on the study of the volume of other arts and crafts shared by Hormozgan and Gilan provinces, such as pottery, traditional embroidery, jewelry, maritime crafts, design and production of wooden boats, production of fishing tools, etc., by taking into consideration the climatic conditions and sociocultural backgrounds of the said two provinces.

The main concern of the design category in design studies is the process of creating an idea in the majority of strategies and solutions to face a specific problem and practical action to solve it in such a way that paying attention to the "context" of the problem is an integral part of the mentioned process. On the other hand, great Islamic thinkers also refer to the discipline of jurisprudence as "Sanaat"; In such a way that the jurist infers and presents the best Shariah explanation to answer current issues according to their content and context; Therefore, from a comparative point of view, not only the two mentioned disciplines are not in conflict with each other; Rather, both of them can be considered as belonging to areas of human knowledge that, while being separate from other areas of knowledge that only emphasize pure knowledge, include practical wisdom that oversees the categories of the future and design; In this regard, the current qualitative research is included in the category of applied research, and by using the descriptive-analytical method, it deals with the common themes that can be proposed in the two disciplines of jurisprudence and design.

The connection between the philosophy of "education" and "design" is dependent on the influence of social norms, and the inherent existing connection between the elements of "truth seeking" and "action orientation", as well as the common theme of "Action in pursuit of desirable change" as long as the intended result is achieved. Taking these into consideration, the current study aims to analyze the commonalities of “Education Research” and “Design Research” subtypes, under the title of “Ethical Action Research”. Research in the aforementioned fields is the same as taking action in them. The current conceptual research is of a fundamental-theoretical type, which has used the descriptive-analytical method to analyze, interpret and combine the results and findings, after examining the fields of "Ethical Action Research", "Education Research" and "Design Research". The results indicate that producing knowledge in the previously mentioned research subtypes is done in the form of "Ethical Action Research" in the fields of science, philosophy and technology. "Theoretical reason", "Productive Action" and "Instrumental Action" are utilized to evaluate and find solutions for the dilemma. Inductive, analogical and abductive reasoning are the dominant logical solutions for the preeminent realization of the aforementioned action. “Ethical Action Research” could therefore be considered as the intersection between the two researches types of “Educational Action Research” and “Research Through Design”. It is advised that for future research, their interaction and synergy is taken into consideration due to the commonalities in their background.

According to "Design" theorists, ambiguity in essence and meaning has posed various challenges to this scientific field, and since a lack of understanding of the functions and philosophical foundations of a scientific field makes it impossible to realize the appropriate or complete version of that field, design researchers have focused on expanding their understanding of the field mentioned above. This descriptive-analytical study focuses on the theoretical field of "design philosophy" and will be valuable for furthering the discussion on design's essence. Concerning this, this research will address the following questions: "What are the philosophical underpinnings of the act of design as a technological action?" and "How can the act of design be discussed in terms of the various implications of the notion of Techne?". To answer these questions, we will first examine the discussions over the concept of "design" in the sphere of "philosophy of technology" as well as the various implications of the multidimensional concept of Techne (the Greek root word for technology). The data and findings will next be analyzed, interpreted, and integrated. The study's achievements include addressing the philosophical foundations of design as a sub-field of technology, epistemology, and methodology, and focusing on the implications of design based on the related concepts of Techne, such as Aesthetic, Logos, Mythos, Metis, Episteme, and Poiesis, for use in future studies of the science and philosophy of design.

The concept of identity in the formation and evolution of management approaches to the brand has always been variable, from prescriptive identity-based approaches to more contemporary approaches such as relational approaches to brand management in which the concept of brand identity is formed during the brand lasting communication, its audiences and their life experiences. The present study seeks to find the answers of the questions related to the brand-consumer relationship; what independent and hidden variables affect the brand authentication by the consumer in the memorable lived experience of the brand and thus the sense of belonging to it? And under what relations do these variables achieve this important? It was done in two steps. In the first step, to achieve the formation nature of the identity concept in the brand-consumer relationship and extract the themes, categories and relationships between them and achieve a conceptual model in this field, the method of interpretive phenomenology and semi-structured interviews with 21 participants were used and in the second step, in order to generalize the results and analyze them, the extracted data provided to 384 participants in the form of a questionnaire and were surveyed. The data analyzed by SPSS and Amos, during which, by approving the structural model of the research, it was concluded that the formation of the identity concept in the lived experience of brand audiences and in the consumer-brand relationship are dependent upon at least 5 themes and 25 related categories.Therefore, it is suggested that brand managers, brand designers, marketers and other experts in these fields, look at the results of this research to create sustainable and identity-oriented brands, as a tool to get rid of the one-dimensional and prescriptive perspective to identity.