According to survey reports by World Health Organization, depression was ranked as the third leading cause of the global burden of disease in 2004, moving into the first place by 2030. Considering this scenario, a research project has been conducted focusing on the potential of graphic design in health care as an opportunity to communicate complex emotional experiences of depression. Using colour as a design strategy, conceptualizes a methodological approach that can be adopted to develop colour palettes in graphic design by considering the focal parameters relevant to the specific project, in this case, connect the emotional dimension of colour experience with depression to visualise the illness in a new light.All works of graphic design establishes a visual communication with its audiences by connecting directly or indirectly on an emotional level, establishing a visual communication with their audiences, connecting directly or indirectly on an emotional level. This paper proposes a methodological approach that can be adopted to derive the appropriate colour for any design, based on the message it is intended to communicate.The development of the tool is based on the importance of the relationship between the relative degree of each emotion and the specific cultural symbolism for the derivation of colours, aiming to capture an individual's emotional attention and produce flawless results in the final design work.The work is based on a transversal approach, correlating different graphic design strategies, including colour and its symbolism, in this case with reference to Indian culture, with the aim of identifying and subsequently portraying the different types of depression, motivating depressed people to express themselves, and the population in general to change their perception about the disease, promoting greater sensitivity and sympathy towards the subject. The proposed colour tool ambitions to create a solution for the inability of people to put together words for their emotional experiences/ feelings when they are going through depression. The colours chosen by them would give a clearer understanding of the emotions/ feelings they might be going through and would play an indicative role to determine the type of depression.Hence, the project is an effort to channel appropriate color as a design tool to talk about depression, spread information and ultimately enrich humane diagnoses and treatment when it comes to fight depression.The development of this interactive visual medium to express complex emotion is fulfilled by incorporating colour variations as a paramount feature in the design strategy. To effectively portray depression as a serious illness using the expressive potential of colour to convey right emotions when used aptly, a colour code was designed, considering the variations in colour dimensions (saturation and light scales) as ways of expressing the degree of severity of the disease.The colour palette was achieved by theoreti
{"title":"Defining the Complex Emotional Experiences of Depression through Visual Language – Colour as Expressive Tool","authors":"Carla Lobo, Puja Kumar, Luisa Barreto","doi":"10.54941/ahfe1001408","DOIUrl":"https://doi.org/10.54941/ahfe1001408","url":null,"abstract":"According to survey reports by World Health Organization, depression was ranked as the third leading cause of the global burden of disease in 2004, moving into the first place by 2030. Considering this scenario, a research project has been conducted focusing on the potential of graphic design in health care as an opportunity to communicate complex emotional experiences of depression. Using colour as a design strategy, conceptualizes a methodological approach that can be adopted to develop colour palettes in graphic design by considering the focal parameters relevant to the specific project, in this case, connect the emotional dimension of colour experience with depression to visualise the illness in a new light.All works of graphic design establishes a visual communication with its audiences by connecting directly or indirectly on an emotional level, establishing a visual communication with their audiences, connecting directly or indirectly on an emotional level. This paper proposes a methodological approach that can be adopted to derive the appropriate colour for any design, based on the message it is intended to communicate.The development of the tool is based on the importance of the relationship between the relative degree of each emotion and the specific cultural symbolism for the derivation of colours, aiming to capture an individual's emotional attention and produce flawless results in the final design work.The work is based on a transversal approach, correlating different graphic design strategies, including colour and its symbolism, in this case with reference to Indian culture, with the aim of identifying and subsequently portraying the different types of depression, motivating depressed people to express themselves, and the population in general to change their perception about the disease, promoting greater sensitivity and sympathy towards the subject. The proposed colour tool ambitions to create a solution for the inability of people to put together words for their emotional experiences/ feelings when they are going through depression. The colours chosen by them would give a clearer understanding of the emotions/ feelings they might be going through and would play an indicative role to determine the type of depression.Hence, the project is an effort to channel appropriate color as a design tool to talk about depression, spread information and ultimately enrich humane diagnoses and treatment when it comes to fight depression.The development of this interactive visual medium to express complex emotion is fulfilled by incorporating colour variations as a paramount feature in the design strategy. To effectively portray depression as a serious illness using the expressive potential of colour to convey right emotions when used aptly, a colour code was designed, considering the variations in colour dimensions (saturation and light scales) as ways of expressing the degree of severity of the disease.The colour palette was achieved by theoreti","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131770244","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The tools of digitisation and enabling technologies for an inclusive use of cultural and environmental resources, programmed and incentivized within the PST – “Piano Strategico di Sviluppo del Turismo 2017-2022” (PST) of the Italian Ministry of Cultural Heritage and Activities and Tourism - represent an extraordinary opportunity to promote and extend responsible, cultured tourism attentive to the development of the main centres, also of the smaller towns and the Inner Areas, acting as drivers both from an economic point of view - as future development resources for the repopulation of areas subject to abandonment and marginalization - and as opportunities to promote the rediscovery and the start of a new cultural trend able to promote knowledge and enhancement of the multiple resources of the territory, going beyond the current range of users and incidence (see PST 2017-2022). The paper analyses these aspects, combining them with the themes of integrated enhancement of the cultural heritage of the Inner Areas and with the sustainable tourism policies of the 2030 Agenda. In particular, it analyses the ways in which the use of new technologies and digital tools applied to cultural heritage can significantly contribute to the enhancement and cultural promotion of Inner Areas and territorial contexts penalised by the absence of effective infrastructures and net-works.Through the principles of sustainability, innovation, accessibility and the physical and cultural permeability of places, which are the basis of the 2017-2022 TSP, new ways are outlined for the valorisation and tourist enjoyment of the cultural heritage of sites and territorial itineraries that are usually little explored and practised but which are crucial and strategic in terms of increasing social, cultural and economic value; of overcoming differences and promoting new competitive scenarios centred on the complexity and variety of the heritage visited (cultural permeability) and on the themes of the unique-ness and richness of stratified territorial and environmental heritages.
{"title":"Digitisation and Enabling Technologies for Inclusive Use of Cultural and Environmental Resources: Italian Cultural Itinerary","authors":"Rosa Maria Giusto, M. Buono","doi":"10.54941/ahfe1001417","DOIUrl":"https://doi.org/10.54941/ahfe1001417","url":null,"abstract":"The tools of digitisation and enabling technologies for an inclusive use of cultural and environmental resources, programmed and incentivized within the PST – “Piano Strategico di Sviluppo del Turismo 2017-2022” (PST) of the Italian Ministry of Cultural Heritage and Activities and Tourism - represent an extraordinary opportunity to promote and extend responsible, cultured tourism attentive to the development of the main centres, also of the smaller towns and the Inner Areas, acting as drivers both from an economic point of view - as future development resources for the repopulation of areas subject to abandonment and marginalization - and as opportunities to promote the rediscovery and the start of a new cultural trend able to promote knowledge and enhancement of the multiple resources of the territory, going beyond the current range of users and incidence (see PST 2017-2022). The paper analyses these aspects, combining them with the themes of integrated enhancement of the cultural heritage of the Inner Areas and with the sustainable tourism policies of the 2030 Agenda. In particular, it analyses the ways in which the use of new technologies and digital tools applied to cultural heritage can significantly contribute to the enhancement and cultural promotion of Inner Areas and territorial contexts penalised by the absence of effective infrastructures and net-works.Through the principles of sustainability, innovation, accessibility and the physical and cultural permeability of places, which are the basis of the 2017-2022 TSP, new ways are outlined for the valorisation and tourist enjoyment of the cultural heritage of sites and territorial itineraries that are usually little explored and practised but which are crucial and strategic in terms of increasing social, cultural and economic value; of overcoming differences and promoting new competitive scenarios centred on the complexity and variety of the heritage visited (cultural permeability) and on the themes of the unique-ness and richness of stratified territorial and environmental heritages.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"191 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133828668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Amadeu Martins, Ana Nunes, Andreia Lima, Carlos Ribeiro, Carolina Pedro, Jéssica Oliveira, Monalisa Vieira, Patrícia Monteiro
Most design interventions manipulate the environment to convey sensory information to the public. However, aside from cosmetic industry, research on the olfactory modality has been broadly overlooked. Being one of the most ancient senses, smell provides motivational guidance within the environment, and some evidence has pointed to multisensory influences of smell. Thus, if the olfactory experience could surpass its mere perception and extend to our decisions, it would become a critical topic for design R&D. We assessed the influence of environmental smells on the performance of two distinct decision tasks, namely, a parallel response selection / conflict monitoring task (see Beste et al. 2013) and a cocoa taste-discrimination task, respectively employing an orthonasal (experiment 1) and a retronasal (experiment 2) smell exposure. Three identical laboratory rooms were used in both experiments to expose the participants to control, pleasant (apple fragrance scented room), and unpleasant (faecal / putrid room) smells in a counterbalanced within-subject design. Although participants’ response times were equivalent between conditions in experiment 1, the unpleasant room was associated with a decreased (albeit non-significant) number of errors. Remarkably, experiment 2 revealed that the unpleasant smell condition produced significantly more accurate judgments about the cocoa content of the trials than those obtained under pleasant (p< 0.01) and control (p< 0.05) conditions. Our findings are discussed considering the salience of smells (i.e., motivational value), and task demands (i.e., exposure length and type of cognitive processes engaged). Those factors likely combine to determine the resources (e.g., attention) allocated at each task and consequently, the degree of interference that smells could have on decision-making. We argue that olfactory design interventions might benefit those people in various contexts where sharp decisions are an asset (e.g., operating rooms, court rooms, etc).
大多数设计干预都是通过操纵环境来向公众传达感官信息。然而，除了化妆品行业，对嗅觉模式的研究一直被广泛忽视。作为最古老的感官之一，嗅觉在环境中提供动机指导，一些证据表明嗅觉的多感官影响。因此，如果嗅觉体验能够超越单纯的感知并延伸到我们的决策中，它将成为设计研发的一个重要课题。我们评估了环境气味对两个不同决策任务的影响，即平行反应选择/冲突监测任务(见Beste et al. 2013)和可可味道辨别任务，分别采用正交鼻(实验1)和后鼻(实验2)气味暴露。两个实验都使用了三个相同的实验室房间，让参与者暴露在控制气味、令人愉快的气味(苹果香味的房间)和令人不愉快的气味(粪便/腐烂的房间)中，以平衡受试者内部的设计。尽管在实验1中，参与者的反应时间在两个条件之间是相等的，但令人不快的房间与错误数量的减少(尽管不显著)有关。值得注意的是，实验2显示，难闻气味条件下对可可含量的判断明显高于难闻气味条件下(p< 0.01)和对照组(p< 0.05)。我们的研究结果是考虑到气味的显著性(即，动机价值)和任务需求(即，暴露时间和参与的认知过程类型)。这些因素可能共同决定了在每项任务中分配的资源(例如，注意力)，从而决定了气味可能对决策产生的干扰程度。我们认为，嗅觉设计干预可能会使那些在各种情况下(例如，手术室，法庭等)做出敏锐决策的人受益。
{"title":"Strategic Design for “Smellscapes”: Do Smells Get Into Our Decisions?","authors":"Amadeu Martins, Ana Nunes, Andreia Lima, Carlos Ribeiro, Carolina Pedro, Jéssica Oliveira, Monalisa Vieira, Patrícia Monteiro","doi":"10.54941/ahfe1001402","DOIUrl":"https://doi.org/10.54941/ahfe1001402","url":null,"abstract":"\u0000 Most design interventions manipulate the environment to convey sensory information to the public. However, aside from cosmetic industry, research on the olfactory modality has been broadly overlooked. Being one of the most ancient senses, smell provides motivational guidance within the environment, and some evidence has pointed to multisensory influences of smell. Thus, if the olfactory experience could surpass its mere perception and extend to our decisions, it would become a critical topic for design R&D. We assessed the influence of environmental smells on the performance of two distinct decision tasks, namely, a parallel response selection / conflict monitoring task (see Beste et al. 2013) and a cocoa taste-discrimination task, respectively employing an orthonasal (experiment 1) and a retronasal (experiment 2) smell exposure. Three identical laboratory rooms were used in both experiments to expose the participants to control, pleasant (apple fragrance scented room), and unpleasant (faecal / putrid room) smells in a counterbalanced within-subject design. Although participants’ response times were equivalent between conditions in experiment 1, the unpleasant room was associated with a decreased (albeit non-significant) number of errors. Remarkably, experiment 2 revealed that the unpleasant smell condition produced significantly more accurate judgments about the cocoa content of the trials than those obtained under pleasant (p< 0.01) and control (p< 0.05) conditions. Our findings are discussed considering the salience of smells (i.e., motivational value), and task demands (i.e., exposure length and type of cognitive processes engaged). Those factors likely combine to determine the resources (e.g., attention) allocated at each task and consequently, the degree of interference that smells could have on decision-making. We argue that olfactory design interventions might benefit those people in various contexts where sharp decisions are an asset (e.g., operating rooms, court rooms, etc).\u0000","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114527381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The following article looks at nature as a cultural pre-set narrative (or set of narratives) and reflects on how it can influence the design process to achieve a concrete result - a product. It describes an ongoing process that intersects intangible (behaviours) and tangible (matter) expressions of nature with the concept of Original-Copy, as the conceptual framework to develop and materialize a lampshade.The inclusion of behaviour patterns presents poetic and imaginative properties to trigger the conceptual phase of a project, while biomatter was chosen to physically materialize the ideas. In this context, the Original-Copy concept works as the archetype on which a new product can be based.The aforementioned approach has been applied and developed through a workshop, which intends to join the three concepts referred to above: behaviours, matter and original-copy.Firstly, a taxonomy of animals´ seduction rituals and courtship behaviours has been developed, which includes various criteria of classification, such as duration, triggers, interaction, or intensity. This taxonomy works as the catalyst of the workshop, to promote imagination and disruption in the design process.In this challenge, the shape of the object is predetermined by an original form (an archetype), in this case, the renowned Constanza lampshade, produced by the Italian brand Luceplan. The poetic dimension is induced by the attempt of translating the patterns of animal mating rituals described in the taxonomy into the characteristics of the biomaterial. The final objective was for the participants to express themselves through the physical dimension (texture, opacity, smell, touch, taste, bias) of created materials, inspired by animal behaviours, and use it to create the reinterpretation of the pre-existing form of the Constanza lampshade.After explaining the workshop methodology, the article presents the main ideas generated. Selected behaviours and the way of their application, composition of the created biomaterials used to materialize the ideas, as well as the final outcomes are described.An important part of the article is the report on the failed attempts of creating the materials and constructing the lampshades, their causes and the impact on the whole process.In the future, further evaluation and development of the proposed approach are anticipated, through the described workshops in different social and geographic contexts. It is awaited the possible creation of collections of other design classics lampshades, based on distinct triggers, for example on endogenous resources, emphasizing different ways how nature can influence design.
{"title":"Original-Copy: ideation for a lampshade inspired by nature","authors":"P. Maia, Raul Pinto","doi":"10.54941/ahfe1003545","DOIUrl":"https://doi.org/10.54941/ahfe1003545","url":null,"abstract":"The following article looks at nature as a cultural pre-set narrative (or set of narratives) and reflects on how it can influence the design process to achieve a concrete result - a product. It describes an ongoing process that intersects intangible (behaviours) and tangible (matter) expressions of nature with the concept of Original-Copy, as the conceptual framework to develop and materialize a lampshade.The inclusion of behaviour patterns presents poetic and imaginative properties to trigger the conceptual phase of a project, while biomatter was chosen to physically materialize the ideas. In this context, the Original-Copy concept works as the archetype on which a new product can be based.The aforementioned approach has been applied and developed through a workshop, which intends to join the three concepts referred to above: behaviours, matter and original-copy.Firstly, a taxonomy of animals´ seduction rituals and courtship behaviours has been developed, which includes various criteria of classification, such as duration, triggers, interaction, or intensity. This taxonomy works as the catalyst of the workshop, to promote imagination and disruption in the design process.In this challenge, the shape of the object is predetermined by an original form (an archetype), in this case, the renowned Constanza lampshade, produced by the Italian brand Luceplan. The poetic dimension is induced by the attempt of translating the patterns of animal mating rituals described in the taxonomy into the characteristics of the biomaterial. The final objective was for the participants to express themselves through the physical dimension (texture, opacity, smell, touch, taste, bias) of created materials, inspired by animal behaviours, and use it to create the reinterpretation of the pre-existing form of the Constanza lampshade.After explaining the workshop methodology, the article presents the main ideas generated. Selected behaviours and the way of their application, composition of the created biomaterials used to materialize the ideas, as well as the final outcomes are described.An important part of the article is the report on the failed attempts of creating the materials and constructing the lampshades, their causes and the impact on the whole process.In the future, further evaluation and development of the proposed approach are anticipated, through the described workshops in different social and geographic contexts. It is awaited the possible creation of collections of other design classics lampshades, based on distinct triggers, for example on endogenous resources, emphasizing different ways how nature can influence design.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129758277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The proliferation of Higher Education (HE) programmes of study in the broad area of social design highlights the instructional challenges of how to educate the social designer. The evolution of HE programmes of study in this academic area has developed without agreed-upon criteria. It is characteristic, however, of social designers’ working practices that they deal with complexity that often requires multiple stakeholder participation and cross-disciplinary knowledge. It is a challenging task to strike the right educational balance to provide the appropriate skills. The unpacking of instructional trends in social design programmes of study can provide a stepping-stone to further elaborate on the education of the social designer, and this is the aim of this paper. Through a textual analysis of forty-two (42) programmes of study in social design in thirteen (13) different countries, this paper explores emerging instructional themes with a particular focus on competencies, entry criteria, programme content, teaching and learning and assessment, and it identifies curriculum design innovations.
{"title":"The education of the social designer","authors":"Nicos Souleles","doi":"10.54941/ahfe1003533","DOIUrl":"https://doi.org/10.54941/ahfe1003533","url":null,"abstract":"The proliferation of Higher Education (HE) programmes of study in the broad area of social design highlights the instructional challenges of how to educate the social designer. The evolution of HE programmes of study in this academic area has developed without agreed-upon criteria. It is characteristic, however, of social designers’ working practices that they deal with complexity that often requires multiple stakeholder participation and cross-disciplinary knowledge. It is a challenging task to strike the right educational balance to provide the appropriate skills. The unpacking of instructional trends in social design programmes of study can provide a stepping-stone to further elaborate on the education of the social designer, and this is the aim of this paper. Through a textual analysis of forty-two (42) programmes of study in social design in thirteen (13) different countries, this paper explores emerging instructional themes with a particular focus on competencies, entry criteria, programme content, teaching and learning and assessment, and it identifies curriculum design innovations.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131206298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Design for Sustainability has been a persistent subject on bachelor Design Degrees curricula for the last decades. However, most of the outcome on students’ projects has been more focused on the use of recycled materials than with systemic sustainable solutions, that would generate a higher impact on the reduction of waste production and into the change into more responsible consumer habits.The actual emergency of a change in scenario in production and consumption habits, leads to the need of a refreshment in the subject of Design for Sustainability concepts and strategies, into schematic proposals as educational tools for next generation designers. Being so, this paper aims to answer the following question: How to synthetize conceptually operational design strategies, as learning tools for bachelor degree design students? To answer this question, a literature review centred on Design for Sustainability, Product Life Cycle Design, Product Service System and User-centred Design was carried out. The collected data was systematized into Design for Sustainability Innovation approaches: i) product design and ii) systemic design. The results led to a graphic systematization of design methodological steps and subsequent design questions that invite students into a reflection on the practitioner's proposals and their wider consequences into a near Future.
{"title":"Sustainability (still) on Demand: Tools for Next Generation Designers","authors":"R. Gomes","doi":"10.54941/ahfe1001371","DOIUrl":"https://doi.org/10.54941/ahfe1001371","url":null,"abstract":"Design for Sustainability has been a persistent subject on bachelor Design Degrees curricula for the last decades. However, most of the outcome on students’ projects has been more focused on the use of recycled materials than with systemic sustainable solutions, that would generate a higher impact on the reduction of waste production and into the change into more responsible consumer habits.The actual emergency of a change in scenario in production and consumption habits, leads to the need of a refreshment in the subject of Design for Sustainability concepts and strategies, into schematic proposals as educational tools for next generation designers. Being so, this paper aims to answer the following question: How to synthetize conceptually operational design strategies, as learning tools for bachelor degree design students? To answer this question, a literature review centred on Design for Sustainability, Product Life Cycle Design, Product Service System and User-centred Design was carried out. The collected data was systematized into Design for Sustainability Innovation approaches: i) product design and ii) systemic design. The results led to a graphic systematization of design methodological steps and subsequent design questions that invite students into a reflection on the practitioner's proposals and their wider consequences into a near Future.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130780564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Empathy is commonly defined as “the ability to put yourself in another person’s shoes i.e. to truly see the world through others eyes in a given context or situation. This is particularly important in Service Design since it means that we are designing relationships. To do so implies a process of deep understanding and connection with different persons having a multitude of visions of the world, ways of behaving and acting. Having this central relevance Empathy is a compulsory condition to any Ser-vice Design project, being the engine both of the design thinking process and the design action process. In methodological terms this paper addresses this central role of Empathy and discloses it through the concatenation of literature review and the presentation of Design student’s service projects (developed in the Service Design Course from the Design graduation program at FA ULisbon), done with a social de-sign focus and developed in a specific conjuncture: the Covid pandemics. This peculiar context challenged the way the activities of observing and engaging with people occurred, making it hard to set aside assumptions, thus suspending each student own view of the world around her/him. The critical assessment and discussion of the results of these group design projects allowed us to develop some tactics in order to overcome the constraints imposed by the pandemics. Hopefully this reflection will somehow contribute to the design area of Education and it is in itself an empathic gesture towards the Design education agents.
{"title":"The Central Role of Empathy in Service Design","authors":"R. Almendra, F. Moreira da Silva","doi":"10.54941/ahfe1001385","DOIUrl":"https://doi.org/10.54941/ahfe1001385","url":null,"abstract":"Empathy is commonly defined as “the ability to put yourself in another person’s shoes i.e. to truly see the world through others eyes in a given context or situation. This is particularly important in Service Design since it means that we are designing relationships. To do so implies a process of deep understanding and connection with different persons having a multitude of visions of the world, ways of behaving and acting. Having this central relevance Empathy is a compulsory condition to any Ser-vice Design project, being the engine both of the design thinking process and the design action process. In methodological terms this paper addresses this central role of Empathy and discloses it through the concatenation of literature review and the presentation of Design student’s service projects (developed in the Service Design Course from the Design graduation program at FA ULisbon), done with a social de-sign focus and developed in a specific conjuncture: the Covid pandemics. This peculiar context challenged the way the activities of observing and engaging with people occurred, making it hard to set aside assumptions, thus suspending each student own view of the world around her/him. The critical assessment and discussion of the results of these group design projects allowed us to develop some tactics in order to overcome the constraints imposed by the pandemics. Hopefully this reflection will somehow contribute to the design area of Education and it is in itself an empathic gesture towards the Design education agents.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"389 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133050795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Slipper Palace is an example of the multitude of entrepreneurship within a participatory design project. A group of stakeholders experimented with a workshop model to co-create design patterns for fabrics to use as raw material in the production of fashion accessories. The initiative is related to the urban and cultural context of the National Palace of Queluz, in the municipality of Sintra, the Metropolitan Area of Lisbon, and a community of local artisans who intend to benefit from the cultural and commercial potential of the place. Through their condition of creative workers, the local artisans, with the support of a participatory design methodology, assumed themselves as eminently social beings and active participants for the transformation of society aiming for the common good.
{"title":"Slipper Palace. Creative Entrepreneurship for the Common Good","authors":"Antonio Gorgel Pinto, Paula Reaes Pinto","doi":"10.54941/ahfe1001419","DOIUrl":"https://doi.org/10.54941/ahfe1001419","url":null,"abstract":"The Slipper Palace is an example of the multitude of entrepreneurship within a participatory design project. A group of stakeholders experimented with a workshop model to co-create design patterns for fabrics to use as raw material in the production of fashion accessories. The initiative is related to the urban and cultural context of the National Palace of Queluz, in the municipality of Sintra, the Metropolitan Area of Lisbon, and a community of local artisans who intend to benefit from the cultural and commercial potential of the place. Through their condition of creative workers, the local artisans, with the support of a participatory design methodology, assumed themselves as eminently social beings and active participants for the transformation of society aiming for the common good.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"202 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113999983","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since the turn of the 20th century, the act of design has gone through an exercise of problem-solving. It happened in the field of the city, architecture, or objects. Much of this discourse is present in the modernist manifestos. These goals are primarily related to Russian constructivism, in which many modern personalities were engaged. This problem-solving process, oriented toward an economic practice that articulated the available means to the proposed ends, was so necessary to the revolutionary spirit of the time. However, they answered the questions that the post-Russia zeitgeist of the Revolution intended to answer. The articulation of their intended function, coupled with the emergence of their utility, entrusted them with a good and abstract character in the city.However, in its genesis, the project contains much more than that. It cannot be merely the functional resolution of a problem. It must have the instability of that problem in its course, which becomes changeable in the search for the solution. As a result, the merely utilitarian character thus loses its initial grip. As Roger Scruton argues, the definition of a project methodology is complex if a method is indeed the correct word to use in the process. The method, that is, a path composed of specific tools to achieve a purpose, seems to us little convergent with the themes that should flow. To start from this assumption is to invalidate what we previously described as a fundamental part of the process of memory, which should have a high place in the project process. The design process is, in essence, the transit between the identification of a problem until it resolves (one, among many possible ones). To which we allude, it does not refer only to the project in Architecture but to a whole system that involves not only objects but also cities, in what we can understand as relationships with the body. More than a mere technical process, it involves an empirical component based on experience, which we define as physical and intellectual. The act of design, or project, must contain in its origin the state of emptiness, without preconceptions, that gag it. This state, which we wish to bring into discussion, is nothing more than the full potential of the task we want to accomplish.
{"title":"[de]Territorialization, the Role of our Brain in a Technological World.","authors":"Luis Miguel Ginja","doi":"10.54941/ahfe1001375","DOIUrl":"https://doi.org/10.54941/ahfe1001375","url":null,"abstract":"Since the turn of the 20th century, the act of design has gone through an exercise of problem-solving. It happened in the field of the city, architecture, or objects. Much of this discourse is present in the modernist manifestos. These goals are primarily related to Russian constructivism, in which many modern personalities were engaged. This problem-solving process, oriented toward an economic practice that articulated the available means to the proposed ends, was so necessary to the revolutionary spirit of the time. However, they answered the questions that the post-Russia zeitgeist of the Revolution intended to answer. The articulation of their intended function, coupled with the emergence of their utility, entrusted them with a good and abstract character in the city.However, in its genesis, the project contains much more than that. It cannot be merely the functional resolution of a problem. It must have the instability of that problem in its course, which becomes changeable in the search for the solution. As a result, the merely utilitarian character thus loses its initial grip. As Roger Scruton argues, the definition of a project methodology is complex if a method is indeed the correct word to use in the process. The method, that is, a path composed of specific tools to achieve a purpose, seems to us little convergent with the themes that should flow. To start from this assumption is to invalidate what we previously described as a fundamental part of the process of memory, which should have a high place in the project process. The design process is, in essence, the transit between the identification of a problem until it resolves (one, among many possible ones). To which we allude, it does not refer only to the project in Architecture but to a whole system that involves not only objects but also cities, in what we can understand as relationships with the body. More than a mere technical process, it involves an empirical component based on experience, which we define as physical and intellectual. The act of design, or project, must contain in its origin the state of emptiness, without preconceptions, that gag it. This state, which we wish to bring into discussion, is nothing more than the full potential of the task we want to accomplish.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"19 11","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114105362","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
E. Cianfanelli, Maria Claudia Coppola, M. Tufarelli
With artificial intelligence being tirelessly trained and constantly learning about subjects and objects inhabiting given environments, whole new ecosystems have been rising and developing, where beings and things are equally entangled in boundaries, connections and relationships, capable of enacting their own agencies at any time.In fact, since everyday life becomes more and more home to smart objects related to the Internet of Things paradigm at different scales of innovation - private, social, urban systems -, the resulting overcrowded ecologies seem to ask to be tackled through design approaches focusing not only on artifacts understood at a limited stage of use and as passive tools related to human agency only. Autonomous vehicles, robots, sensing surfaces, recording devices are populating society in increasing numbers, pushing the social sphere towards its more-than-human futures. In this sense, the resulting computational environment produces a more-than-human experience, with all its clustering, classifying and patterning information happening almost instantaneously and often without the need of a perceiving subject. This leads to a significant change in the way information is experienced and used: examining the interlocking nature of humans and technology by looking at the way technology is humanised, and humans are technologised, it seems that smart objects are gaining complex features like being deliberative, reflectional, experiential and communicative, allowing them to produce both reflectional knowledge, - namely knowledge which humans can use to think about phenomena with new insights - and actionable knowledge - namely knowledge which non-human actants can use to do things and achieve goals. Thus, human knowledge and data-driven knowledge promote specific values, influencing collective life, launching a twofold challenge in overcrowded ecologies: from one side, designers might address thing factors so that they could sense and understand the world through more-than-human values; from the other side designers might address being factors to build meaning through shared values.As both beings and things learn and act, the world is full of extended agencies, where it is not worth distinguishing whether humans extend their own agency through objects or vice versa. According to the “hybrid” behaviorism making its way and leading to new insights for design culture, the contribution aims at investigating more-than-human factors and values in times of hyper-communication, where contemporary landscapes appear so heterogeneously populated, that embracing diversity and the radical interdependence it entails means grasping the diverse needs of design beneficiaries, be they beings or things. Synthetic and organic agency, natural and machinical ones: it is very likely that designers will not only design with them, but also for them: networks of natural and computational entities can in fact be thought of not only given objects - wheter they be en
{"title":"Overcrowded Ecologies: Designing Value through More-than-Human Factors","authors":"E. Cianfanelli, Maria Claudia Coppola, M. Tufarelli","doi":"10.54941/ahfe1001414","DOIUrl":"https://doi.org/10.54941/ahfe1001414","url":null,"abstract":"With artificial intelligence being tirelessly trained and constantly learning about subjects and objects inhabiting given environments, whole new ecosystems have been rising and developing, where beings and things are equally entangled in boundaries, connections and relationships, capable of enacting their own agencies at any time.In fact, since everyday life becomes more and more home to smart objects related to the Internet of Things paradigm at different scales of innovation - private, social, urban systems -, the resulting overcrowded ecologies seem to ask to be tackled through design approaches focusing not only on artifacts understood at a limited stage of use and as passive tools related to human agency only. Autonomous vehicles, robots, sensing surfaces, recording devices are populating society in increasing numbers, pushing the social sphere towards its more-than-human futures. In this sense, the resulting computational environment produces a more-than-human experience, with all its clustering, classifying and patterning information happening almost instantaneously and often without the need of a perceiving subject. This leads to a significant change in the way information is experienced and used: examining the interlocking nature of humans and technology by looking at the way technology is humanised, and humans are technologised, it seems that smart objects are gaining complex features like being deliberative, reflectional, experiential and communicative, allowing them to produce both reflectional knowledge, - namely knowledge which humans can use to think about phenomena with new insights - and actionable knowledge - namely knowledge which non-human actants can use to do things and achieve goals. Thus, human knowledge and data-driven knowledge promote specific values, influencing collective life, launching a twofold challenge in overcrowded ecologies: from one side, designers might address thing factors so that they could sense and understand the world through more-than-human values; from the other side designers might address being factors to build meaning through shared values.As both beings and things learn and act, the world is full of extended agencies, where it is not worth distinguishing whether humans extend their own agency through objects or vice versa. According to the “hybrid” behaviorism making its way and leading to new insights for design culture, the contribution aims at investigating more-than-human factors and values in times of hyper-communication, where contemporary landscapes appear so heterogeneously populated, that embracing diversity and the radical interdependence it entails means grasping the diverse needs of design beneficiaries, be they beings or things. Synthetic and organic agency, natural and machinical ones: it is very likely that designers will not only design with them, but also for them: networks of natural and computational entities can in fact be thought of not only given objects - wheter they be en","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114448320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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