Tailorizing Taylorism: to Investigate the Principles of Taylorism and How They Can Inform the Design of a Contemporary Movement Efficient Dwelling

10.26686/wgtn.16985212 ◽

2021 ◽

Author(s):

◽

Lauren Maire Gasson

Keyword(s):

Production Process ◽

First Century ◽

Daily Routine ◽

Social Activities ◽

Fundamental Step ◽

Contemporary Method ◽

Ethnographic Studies ◽

Twenty First Century

<p>Despite contemporary social activities changing drastically at the turn of the twenty-first century, residential layouts have not changed. This thesis takes the position that dwellings should be designed to facilitate movement efficiency and be moulded around our daily routine. This study seeks to investigate how the contemporary dwelling can adopt Taylorism’s principals from the commercial industry, to facilitate movement efficiency in the home. The research will further look at micro architecture as a contemporary manifestation of Taylorism and use it as an architectural precedent. From the investigation, this research helped formulate a brief for a contemporary method of designing, in which the architect views the individual’s routine as a production process to be refined and optimized. The study preformed ethnographic studies on a three individuals whom wanted their home to be an instrument for their living. One study was chosen to analyze. From the study of the individual’s inhabitation, a prototype was designed around the ecology of objects used in their routine. This became a fundamental step in the brief. Once the prototype is created it was revealed that the architect would have an excellent understanding of how their individual dwelled, and therefore could use the prototype to design an efficient routine. Through the method of interrogating and stripping back the individual’s inhabitation, this process helped redefine the architect’s role and approach to designing contemporary dwelling. The dwelling created using the brief was entirely customized and facilitates every aspect of the client’s contemporary routine.</p>

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Beyond Discipline: Evolving Design Practice and Design Education in the Twenty-First Century

Architecture_MPS ◽

10.14324/111.444.amps.2020v18i1.004 ◽

2020 ◽

Vol 18 (1) ◽

Author(s):

Lara Furniss

Keyword(s):

Undergraduate Education ◽

Design Education ◽

The Body ◽

First Century ◽

Design Practice ◽

Creative Processes ◽

Ethnographic Studies ◽

Current Design ◽

Twenty First Century ◽

The Uk

Since 2000, design practice in the UK has changed dramatically. Boundaries between design disciplines have dissolved, and many contemporary design studios now defy classification. These studios are reconfiguring the design landscape, yet a uni-disciplinary structure still dominates undergraduate education. This is creating a disconnection between practice and education and posing critical questions for the current design education system. This article outlines the findings of a PhD research study exploring this disconnection, and although situated within the UK, the findings have international relevance. An initial scoping exercise draws on interviews with leading commentators from the UK design sector, examining the evolution of design practice over the past 10 years, and possible future directions for undergraduate education. Findings highlight that UK policy for creative education has placed undergraduate design courses in potential crisis. Arguably, the current university system for design education is outdated. It is now necessary to redefine the skills and processes twenty-first-century designers need. The body of the research is situated within five internationally renowned creative studios which defy classification. In-depth ethnographic studies cross-analyse the creative processes of these studios and their views on education. Findings identify key components of each studio’s processes, while also exploring studio members’ educational experiences, and reflections on future implications for pedagogy. This article argues that this growing disconnect between practice and education calls for existing pedagogic models to be challenged, proposes alternative approaches and highlights the need for policymakers, practitioners and educators to work together to best prepare young designers to meet today’s challenges.

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Authenticity, Self-Invention and the Power of Storytelling: Sam Shepard’s Postmillennial Work

Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre ◽

10.18778/2353-6098.6.04 ◽

2020 ◽

Vol 6 (1) ◽

pp. 28-39

Author(s):

Paulina Mirowska

Keyword(s):

Cultural Identity ◽

Production Process ◽

Recent Work ◽

First Century ◽

Artistic Creativity ◽

The Past ◽

Theatre Company ◽

Twenty First Century ◽

Insight Into

The article reflects upon Sam Shepard’s playwrighting in the opening decades of the twenty-first century, paying particular attention to his last play, A Particle of Dread (Oedipus Variations), written specifically for the Derry/Londonderry City of Culture celebrations in 2013, and originally produced by the renowned Field Day Theatre Company. The article seeks to offer an insight into Shepard’s mature multilayered text, which, in many respects, looks back upon almost fifty years of his artistic creativity and, at the same time, expands his vision. It also addresses the realisation of Shepard’s play in performance and the significance of his text in an interplay of multiple creative inputs involved in the production process. While revisiting the familiar landscapes and themes, Shepard’s most recent work negotiates the boundaries between the actual and the fictitious, raising debates about the persistence of myths, mortality and the haunting legacies of the past. Richly intertextual and conspicuously metatheatrical, it grapples with questions of authenticity, performativity and storytelling – the narratives that are passed down, and how they form and inform our lives. It also engages with, and further problematises, issues of personal and cultural identity, which constitute Shepard’s most durable thematic threads, revealing both the dramatist’s acute concern with fateful determinism and commitment to self-invention. Significantly, while Shepard’s postmillennial output highlights the author’s ongoing preoccupation with instability and frontiers of various sorts (from those topographic, temporal and sociopolitical to those of language and art), it equally intimates his attentiveness to correspondences between times, lands and cultures.

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Imagining His Dark Materials as a Gesamtkunstwerk

Studies in Musical Theatre ◽

10.1386/smt.1.2.199_1 ◽

2007 ◽

Vol 1 (2) ◽

pp. 199-211

Author(s):

Laura MacDonald

Keyword(s):

Production Process ◽

Interdisciplinary Collaboration ◽

Collaborative Work ◽

Scenic Design ◽

First Century ◽

Collaborative Approach ◽

Emotional Experiences ◽

His Dark Materials ◽

Twenty First Century

Using first-hand interviews conducted with playwright Nicholas Wright and composer Jonathan Dove, this article discusses the adaptation and production process behind the Royal National Theatre's staging of His Dark Materials. It suggests that an interdisciplinary, collaborative approach was essential in bringing Pullman's epic to the stage. Different combinations of dialogue, music, scenic design, staging and puppetry allowed the production to convey detailed character histories and complex emotional experiences, and cover vast geographies, distilling the essence of the compelling epic. In leaving the structure of the interdisciplinary collaboration transparent, this article argues that the director, Nicholas Hytner, and his team invited the audience to enter the worlds of the play as participants in the collaborative work, free to mould their own experience of the heroes' adventures, and complete the adaptation with their own imagination. This twenty-first-century Gesamtkunstwerk bears comparison with Wagner's Ring cycle of music dramas.

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