The International Journal Design | Arts | Culture is a digital open access and peer-reviewed multi-disciplinary journal, published by “Design, Interior Architecture and Audiovisual Documentation” lab of the Faculty of Applied Arts and Culture of the University of West Attica Greece in cooperation with the: Doctoral Studies of the National University of Arts Bucharest Romania, University of Nicosia Cyprus, ESAD Porto Portugal, ESD Madrid Spain and Academy of Fine Arts Gdansk Poland. This journal is biannual (with regular and from time to time special issues) and publishes research articles, projects and portfolios, as well as book reviews and student works. It aims to provide an academic forum for sharing and connecting ideas, projects, practices and findings about design, applied arts and culture. This journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge. This journal does not charge submission or publication fees.

Current Issue

Vol. 2 (2021)
Cover page

Published: 2022-01-16

Following the successful launch of Vol.1 which was focused on the topic “The entrancement of Ruins”, Vol. 2 is an open-themed issue that aims to cover a broad spectrum of academic research on arts, culture and design, and explore the middle ground within the dynamic and ever–evolving interdependencies between art and artefact, human and society, identity and community, technological advancement and heritage, academic practice and professional trade.


Total pages 240

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Editorial Note

Since the 60s the practice of design-oriented research has gradually grown out of being documented solely as a professional activity in specialty magazines and journals alike. Instead, a new academic, critical, and interdisciplinary discussion has risen from educators and researchers who aspire to address the subject with all the requirements of proper academic rigor. At the same time a new breadth of artifacts, ranging from objects of everyday use to the actual spaces we live in, and from cultural artifacts to our heritage treasures, add value to our empirically-driven practices and reflect upon our social and cultural development.

In the last twenty or so years especially, we have seen the rise of numerous epistemological attempts on Design, such as Design Methodologies, Design History, Design Education, Design Creativity, Heritage and Cultural Studies, Social Studies, etc. For a large part, these approaches generally assume that design is a problem-solving activity (see e.g. Design Studies, ISSN 0142-694X), and that the research around it should address the issue outside the canon of the individual domains that it manifest (Archer, 1979, Cross, 1982, Lawson,1980, etc). However, more than few journals tend to further this discussion by acknowledging aspects such as history, theory, and criticism as a fundamental part of it (Buchanan et al., 2000, Melioranski, 2015, Irwin et al., 2015, Markussen, 2017, etc). Even more so, Massey and Turpin (2010)—albeit speaking in particular about the subject of interiors—acknowledge the value of the human productions of design for their extended role as cultural, social, technological, or ideological objects. To paraphrase their actual words (op. cit., p.5), these manifestationsin objects and activities tend to be also ‘a manifestation of time, space, and people; of cultural values and belief systems; and of social structures, new technologies, and philosophies of beauty;’ they ‘play a crucial role in the construction of identity – whether in terms of gender, class, sexuality, or nation’ while they also ‘represent power and control, and also the contestation or transgression of boundaries;’ and ultimately, they speak to ‘who we are, who we want to be, and, at times, who we should be.’

For all of the above, the intentionality of the design process cannot be taken lightly as an end in itself. Indeed, it looks more likely to act as an integral part of a system of dynamic and ever–evolving interdependencies between act and artefact, human and society, identity and community, technological advancement and heritage; and maybe even, between academic practice and professional trade. This journal seeks to find its pertinence in this regard, namely by aiming to foster the ground so that such an interdisciplinary discussion may occur under a unifying outlook. To achieve this goal, it needs to build more than a common territory; rather, it needs to acculate a common wealth that stems from the will to acknowledge not only the multi–faceted instances of the process of design, but the interdependencies between them and their end result. On top of that, this journal aims to provide the premises of an intercultural discussion between participating European Universities, and therefore create an interactional network that will foster the exchange of ideas and findings between educators, researchers and artists of different national cultures and background in the field of design and culture. In this regard, this journal will also be managed sequentially by editorial teams from all of the participating members in a yearly rotation. To conclude, this journal seeks to unite theory, technology, human studies, and artistic practice into a single territory of fruitful experimentation and thoughtful inquiry.

Thus, the founding principles and, thereby, objectives of this nascent journal may be summarized as follows:

•    To connect theories, aesthetics, processes, social approaches and actual products from related areas of applied arts and design.
•    To point out human aspects and culture, as central issues through interdisciplinary approaches
•    To offer a platform for high-quality research, arts, practice and education.
•    To support the dialogue between academics, researchers and professionals of similar fields concerning culture
•    To highlight learning strategies and educational methods in design and applied arts fields
•    To highlight new developments, practices and tools
•    To highlight experiential approaches and creativity

Archer, B., 1979. Design as a discipline. Design Studies 1, 17–20.
Buchanan, R., Doordan, D., Margolin, V., 2000. Introduction. Design Issues 16, 1–2.
Cross, N., 1982. Designerly Ways of Knowing. Design Studies 3.4 (1982): 221-27.
Irwin, T., Kossoff, G., Tonkinwise, C., & Scupelli, P., 2015. Transition Design 2015: A new area of design research, practice and study that proposes design-led societal transition toward more sustainable futures. School of Design, Carnegie Mellon University.
Lawson, B. 1980. How Designers Think: The Design Process Demystified. London: Architectural Press, Elsevier.
Markussen, Thomas, 2017. Disentangling “the social” in social design’s engagement with the public realm. Co Design 13, pp.160–174.
Massey, A., Turpin, J., 2010. Editorial Introduction. Interiors 1, 5–6.
Melioranski, R., H., 2015. Tackling Societal Challenges Requires Improved Design Methodology, in Synnyt/Origins Special Issue: Movements in Human-centredness, August 2015, pp 16-30.