In 2011 the Westerdals School of Communication and Design- now Westerdals Institute of Creativity, Media and Design of School of Arts, Design and Media at Kristiania, developed a new design program: Bachelor Program in Retail Design. It positioned retail design as an innovative program in communication. The objective of the retail design program at Westerdals was that “students and faculty explore design and social changes in the context of retail design”.
Staying true to this objective, I created courses that have not existed before such as Brandscapes (MAK 208, WRD- 3 RD) and TrendAnalysis and Forecasting (RED 300) which are design to secure innovative pedagogical approach as the baseline.
To explain some of my ideas, I’ll describe the course Brandscapes.
This module provides students with an understanding of Brandscapes by broadening the concept to include brandcommunication in public spaces. Students will learn about Brandscapes and architecture as a medium within brand communication. In her book Brandscapes: Architecture in the experience economy, Anna Klingmann, an OMA team member from 1997 to 2000, discusses the idea of brandscapes, which she refers to as “branding of architecture”
To deliver ( communicate) a clear and understandable fashion brand identity through the architecture and interior design, an architect need a precise method to target the observer- a tool to translate fashion into architecture:
the brand message must be delivered as accurately as possible in any language or particular cultural context to avoid a faulty interpretation of the brand and final spatial design (McQuillan, 2015)[2]
[1] Anna Klingmann, Brandscapes. Architecture in the Experience Economy (Cambridge, Massachusetts: The MIT Press, 2007), 8.
[2] Published in Norwegian: Design som fortelling. Merkevarehistorier fortalt medinteriørdesign og arkitektur. I: Metodebokfor kreative fag, by Næss E.H. og Pettersen L. (red), 172-182. Oslo:Universitetsforlaget.
My first attempt to create a visual method was what I called Design by Narrative- a visual method to present the design idea, not just an orally written explanation of the creative process. It is rooted in the architecture theory 1965-1995 that was a period of re-examination of the discipline.[3] Architecture in the postmodern era was deeply influenced by different paradigms such as postmodernism, phenomenology, semiotics, poststructuralism, deconstruction, and feminism. Architects such as Bernard Tschumi, Peter Eisenman, and John Hejduk[4]introduced the approach using the projects, the drawings, and the buildings as ways of exploring theoretical propositions.
Students learn how to tell brand stories in interior design and architecture in practice. The module focuses particularly on the knowledge students need to complete real-life projects. The module offers in-depth knowledge of tools, methods, and project management skills, so students are equipped to work on real-life projects. Throughout the module, students work with real clients/ case studies. The focus of the module is integrated brand communication.The students gain abroad understanding of how subject-relevant tools and methods can be used for brand-building in public spaces. After the taking course the student shall be able to apply their knowledge of strategic communication in public spaces and give a well-reasoned explanation of their choices, be able to thinkin dividually and conceptually, assess the public situation and the brand and can apply visual communication methods to tell brand stories with interior design and architecture.Students shall gain general competence such as be be ablet o reflect on and communicate their views on and experience of the subject orally, visually, and in writing. Be able to choose and deploy the correct tools and resolve other brand communication issues in the context public spaces, and be able to developed solutions for the selected brand that are perceived as innovative and attractive. Learning activities such as academic lecture with theoretical background, theory seminars, supervisions, group work with fellow students on visual assignment. Important part of the process is customer assignments or real cases from companies and guest lecturers from industry.
[3] Published in Norwegian: Design som fortelling. Merkevarehistorier fortalt medinteriørdesign og arkitektur. I: Metodebokfor kreative fag, by Næss E.H. og Pettersen L. (red), 172-182. Oslo:Universitetsforlaget.
[4] Davidson, C. 1993. BernardTschumi. Modes of Inspiration. ANY:Architecture New York, Writing in Architecture (May/June 1993), pp.50-53.Published by: Anyone Corporation. Stable URL:http://www.jstor.org/stable/41845559 [ October13, 2021]
My first attempt to create a visual method was what I called Design by Narrative- a visual method to present the design idea, not just an orally written explanation of the creative process. It is rooted in the architecture theory 1965-1995 that was a period of re-examination of the discipline.[3] Architecture in the postmodern era was deeply influenced by different paradigms such as postmodernism, phenomenology, semiotics, poststructuralism, deconstruction, and feminism. Architects such as Bernard Tschumi, Peter Eisenman, and John Hejduk[4]introduced the approach using the projects, the drawings, and the buildings as ways of exploring theoretical propositions.
Students learn how to tell brand stories in interior design and architecture in practice. The module focuses particularly on the knowledge students need to complete real-life projects. The module offers in-depth knowledge of tools, methods, and project management skills, so students are equipped to work on real-life projects. Throughout the module, students work with real clients/ case studies. The focus of the module is integrated brand communication.The students gain abroad understanding of how subject-relevant tools and methods can be used for brand-building in public spaces. After the taking course the student shall be able to apply their knowledge of strategic communication in public spaces and give a well-reasoned explanation of their choices, be able to thinkin dividually and conceptually, assess the public situation and the brand and can apply visual communication methods to tell brand stories with interior design and architecture.Students shall gain general competence such as be be ablet o reflect on and communicate their views on and experience of the subject orally, visually, and in writing. Be able to choose and deploy the correct tools and resolve other brand communication issues in the context public spaces, and be able to developed solutions for the selected brand that are perceived as innovative and attractive. Learning activities such as academic lecture with theoretical background, theory seminars, supervisions, group work with fellow students on visual assignment. Important part of the process is customer assignments or real cases from companies and guest lecturers from industry.
[3] Published in Norwegian: Design som fortelling. Merkevarehistorier fortalt medinteriørdesign og arkitektur. I: Metodebokfor kreative fag, by Næss E.H. og Pettersen L. (red), 172-182. Oslo:Universitetsforlaget.
[4] Davidson, C. 1993. BernardTschumi. Modes of Inspiration. ANY:Architecture New York, Writing in Architecture (May/June 1993), pp.50-53.Published by: Anyone Corporation. Stable URL:http://www.jstor.org/stable/41845559 [ October13, 2021]
My first attempt to create a visual method was what I called Design by Narrative- a visual method to present the design idea, not just an orally written explanation of the creative process. It is rooted in the architecture theory 1965-1995 that was a period of re-examination of the discipline.[3] Architecture in the postmodern era was deeply influenced by different paradigms such as postmodernism, phenomenology, semiotics, poststructuralism, deconstruction, and feminism. Architects such as Bernard Tschumi, Peter Eisenman, and John Hejduk[4]introduced the approach using the projects, the drawings, and the buildings as ways of exploring theoretical propositions.
Students learn how to tell brand stories in interior design and architecture in practice. The module focuses particularly on the knowledge students need to complete real-life projects. The module offers in-depth knowledge of tools, methods, and project management skills, so students are equipped to work on real-life projects. Throughout the module, students work with real clients/ case studies. The focus of the module is integrated brand communication.The students gain abroad understanding of how subject-relevant tools and methods can be used for brand-building in public spaces. After the taking course the student shall be able to apply their knowledge of strategic communication in public spaces and give a well-reasoned explanation of their choices, be able to thinkin dividually and conceptually, assess the public situation and the brand and can apply visual communication methods to tell brand stories with interior design and architecture.Students shall gain general competence such as be be ablet o reflect on and communicate their views on and experience of the subject orally, visually, and in writing. Be able to choose and deploy the correct tools and resolve other brand communication issues in the context public spaces, and be able to developed solutions for the selected brand that are perceived as innovative and attractive. Learning activities such as academic lecture with theoretical background, theory seminars, supervisions, group work with fellow students on visual assignment. Important part of the process is customer assignments or real cases from companies and guest lecturers from industry.
[3] Published in Norwegian: Design som fortelling. Merkevarehistorier fortalt medinteriørdesign og arkitektur. I: Metodebokfor kreative fag, by Næss E.H. og Pettersen L. (red), 172-182. Oslo:Universitetsforlaget.
[4] Davidson, C. 1993. BernardTschumi. Modes of Inspiration. ANY:Architecture New York, Writing in Architecture (May/June 1993), pp.50-53.Published by: Anyone Corporation. Stable URL:http://www.jstor.org/stable/41845559 [ October13, 2021]