Antón, J. (Javier)

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    Designing Designers: Notes on a Specific Methodology
    (Common Ground Research Networks, 2021) Larripa-Artieda, V. (Víctor); Acilu, A. (Aitor); Antón, J. (Javier)
    The task of developing a new teaching methodology to train young designers is not an easy one. Given the nature of the discipline, design education must deal with numerous complex and specific aspects in constant change: the mastery and management of creative processes; the balance between strong technical knowledge and good formal capacity; the tension between the application of industrial processes and the handling of artisanal techniques; the capacity to know the updated demands of a humanity in constant change; or the need to develop a rich - and critical - memory of project references. This, together with the current technological and digital paradigm, constantly changing, makes the formation of the designer a completely open debate. How, then, can a good design teaching strategy be designed?
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    Out of the cave: Traveling as experiential pedagogy in design
    (Common Ground Research Networks, 2021) Roquette-Rodriguez-Villamil, J.L. (Juan Luis ); Larripa-Artieda, V. (Víctor); Antón, J. (Javier)
    With due interpretative caution and trying not to fall into simplification or cliché, it could be stated that the “rational” mind learns with “pure concepts” based mainly on the understanding of the essence and attributes of their objects of knowledge. The “logical” mind, on the other hand, learns to unravel the theoretical consequences of a formula within an abstract language. On its side, the “creative” mind of the designer acquires and achieves the object of knowledge—creativity—through a deep understanding of already completed designs. This paper aims to delve into the process of analysis of design examples, a process that could somehow resemble Alchemy, in which the alembic could be the pencil. Drawing is the analytical tool that allows the designer to distil the essence of the studied references departing from the overflow of images that arrive to the eye. With the gathering of different successful design examples, the designers build up a repository stocked in their memory that enlarges their creative capacity when facing new challenges.
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    Memory and image: The designer’s mind as an alembic of examples
    (Common Ground Research Networks, 2021) Roquette-Rodriguez-Villamil, J.L. (Juan Luis ); Larripa-Artieda, V. (Víctor); Antón, J. (Javier)
    With due interpretative caution and trying not to fall into simplification or cliché, it could be stated that the “rational” mind learns with “pure concepts” based mainly on the understanding of the essence and attributes of their objects of knowledge. The “logical” mind, on the other hand, learns to unravel the theoretical consequences of a formula within an abstract language. On its side, the “creative” mind of the designer acquires and achieves the object of knowledge—creativity—through a deep understanding of already completed designs. This paper aims to delve into the process of analysis of design examples, a process that could somehow resemble Alchemy, in which the alembic could be the pencil. Drawing is the analytical tool that allows the designer to distil the essence of the studied references departing from the overflow of images that arrive to the eye. With the gathering of different successful design examples, the designers build up a repository stocked in their memory that enlarges their creative capacity when facing new challenges.