Elga Ferreira, E. Penedos-Santiago, Constança Rocha, Daniela Marques, Esteêvo Santos, S. Dias
In the county of Leiria, Portugal, part of the population is known to have morbidity diagnoses (metabolic illnesses and more) and poor health habits on a big enough scale to bring the idea of how low health literacy can affect people's lives and health services, such as a flood of the emergency systems caused by people attending the emergency room with minor issues. To address it, institutions in Leiria such as the City Hall and Polytechnic of Leiria decided to conduct a longitudinal and prospective cohort study, where a sample of the population will be followed throughout time to understand if their choices regarding health and sustainable habits are indeed affected by their health literacy levels.This project will contribute to the initial stage of this cohort study, by developing a recognizable brand, whose identity can be maintained throughout all its communication and dissemination media, so that the population can identify, without equivocation, the cohort study to which it refers, and awaken their curiosity to participate. This stage also includes the presentation and dissemination of the cohort study itself to the population under study, followed by a randomized inquiry done by pre-selected interviewers.This project relies on Service Design and Participatory Design methodologies to streamline the development of the study’s elements and to solve common cohort issues, such as: 1) gathering a suitable number of participants that can represent the population; 2) follow-up maintenance of participants; 3) keeping the interviewers and participants engaged with the study, after the first contact. Informal interviews and user group definition will help the comprehension of the study and allow to create personas to characterize the interviewers of the cohort study. These aforementioned methodologies will be supported by the workshop methodology under Participatory Design, acting as a testing ground for the previously developed processes, preparing interviewers to adapt their communication when facing people from different generations, education, and social backgrounds.By carrying out this project simultaneously with the cohort study, it’s possible to evaluate, over time, how the design methodologies can empower and facilitate communication and intervene, changing tactics in case it’s needed. The creation of a replicable experience is proposed allowing the betterment of the overall health of the population. Additionally, assuming the lack of information on how the preparatory phases of cohort studies are designed, it’s also envisaged the creation of guidelines and a good practice manual. It is also of great importance to point out the bridge established between the health and design fields, where design becomes the interface between science and the public.
{"title":"Cohort Study Good Practices: Design Communication and Capacitation Processes","authors":"Elga Ferreira, E. Penedos-Santiago, Constança Rocha, Daniela Marques, Esteêvo Santos, S. Dias","doi":"10.54941/ahfe1001406","DOIUrl":"https://doi.org/10.54941/ahfe1001406","url":null,"abstract":"In the county of Leiria, Portugal, part of the population is known to have morbidity diagnoses (metabolic illnesses and more) and poor health habits on a big enough scale to bring the idea of how low health literacy can affect people's lives and health services, such as a flood of the emergency systems caused by people attending the emergency room with minor issues. To address it, institutions in Leiria such as the City Hall and Polytechnic of Leiria decided to conduct a longitudinal and prospective cohort study, where a sample of the population will be followed throughout time to understand if their choices regarding health and sustainable habits are indeed affected by their health literacy levels.This project will contribute to the initial stage of this cohort study, by developing a recognizable brand, whose identity can be maintained throughout all its communication and dissemination media, so that the population can identify, without equivocation, the cohort study to which it refers, and awaken their curiosity to participate. This stage also includes the presentation and dissemination of the cohort study itself to the population under study, followed by a randomized inquiry done by pre-selected interviewers.This project relies on Service Design and Participatory Design methodologies to streamline the development of the study’s elements and to solve common cohort issues, such as: 1) gathering a suitable number of participants that can represent the population; 2) follow-up maintenance of participants; 3) keeping the interviewers and participants engaged with the study, after the first contact. Informal interviews and user group definition will help the comprehension of the study and allow to create personas to characterize the interviewers of the cohort study. These aforementioned methodologies will be supported by the workshop methodology under Participatory Design, acting as a testing ground for the previously developed processes, preparing interviewers to adapt their communication when facing people from different generations, education, and social backgrounds.By carrying out this project simultaneously with the cohort study, it’s possible to evaluate, over time, how the design methodologies can empower and facilitate communication and intervene, changing tactics in case it’s needed. The creation of a replicable experience is proposed allowing the betterment of the overall health of the population. Additionally, assuming the lack of information on how the preparatory phases of cohort studies are designed, it’s also envisaged the creation of guidelines and a good practice manual. It is also of great importance to point out the bridge established between the health and design fields, where design becomes the interface between science and the public.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"21 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":"114468031","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}
C. Rijo, Vera Barradas, Carolina Galegos, Patricia Pombo
This article aims to demonstrate the design thinking methodology applied in a specific challenge and its inherent problems. Nowadays, with the common concern of climate change issues, design assumes a global responsibility to change habits and behaviors. Universities as living laboratories of ideas and an-swers are called to action. In the work presented here, students were challenged to develop a project under the theme, seeds. With sustainable design and circular economy at the base of the creative process, in a thinking oriented towards truth, honesty, clarity and respect for people, 3 seeds are born. A hand-made clothing brand with dyeing based on three seeds: Paprika, Saffron and Pink Pepper. From the result were part not only the garments, but also communication strategy and graphic pieces that accompanied the whole concept and process of the project. For the development of the project, we intend a methodology that integrates practice as part of the method has come to characterize our action – practice-based and practice-led (Candy, 2006) - considering: wants to practice and reflection on the results of practice, as a source of new knowledge.Move forward from this knowledge about the practice and within of practice we adopted design thinking methodology not only because is a flexible methodology but also because can be used in any work field, since it as valuable elements, such as iterating frequently based on continuous feedback from all the intervenient. Through rapid low-resolution prototyping, ideas are continuously tested with the potential users. “Fail early in order to succeed sooner” is the Design Thinking principle that helps to maximize learning and insights, crucial for human centred innovation. Collaborative work in a small groups scenar-io map, leads to the discussion of solutions, and to the innovation that emerges from the different perspec-tives given by each person.In this context, it will be important to realize that, as a methodological resource in the development of a project, design thinking is able to provide an effective approach to problem solving, naturally facilitating the development of innovative approaches to problem solving, from the perspective of prototyping, rapid analysis and potential selection of end-user-focused solutions. Design thinking, besides guiding as a meth-odology, emerges as a unifying element of visual thinking and the creative process. Our aim with the students involved, based on active research and expression, is give them with skills capable of complementing their expertise, behaviors and methodologies in real work context since this methodology offered focuses on a practical approach.
{"title":"Design Thinking a Methodological Approach in Design Process: \"3 seeds\" as a Case Study","authors":"C. Rijo, Vera Barradas, Carolina Galegos, Patricia Pombo","doi":"10.54941/ahfe1001384","DOIUrl":"https://doi.org/10.54941/ahfe1001384","url":null,"abstract":"This article aims to demonstrate the design thinking methodology applied in a specific challenge and its inherent problems. Nowadays, with the common concern of climate change issues, design assumes a global responsibility to change habits and behaviors. Universities as living laboratories of ideas and an-swers are called to action. In the work presented here, students were challenged to develop a project under the theme, seeds. With sustainable design and circular economy at the base of the creative process, in a thinking oriented towards truth, honesty, clarity and respect for people, 3 seeds are born. A hand-made clothing brand with dyeing based on three seeds: Paprika, Saffron and Pink Pepper. From the result were part not only the garments, but also communication strategy and graphic pieces that accompanied the whole concept and process of the project. For the development of the project, we intend a methodology that integrates practice as part of the method has come to characterize our action – practice-based and practice-led (Candy, 2006) - considering: wants to practice and reflection on the results of practice, as a source of new knowledge.Move forward from this knowledge about the practice and within of practice we adopted design thinking methodology not only because is a flexible methodology but also because can be used in any work field, since it as valuable elements, such as iterating frequently based on continuous feedback from all the intervenient. Through rapid low-resolution prototyping, ideas are continuously tested with the potential users. “Fail early in order to succeed sooner” is the Design Thinking principle that helps to maximize learning and insights, crucial for human centred innovation. Collaborative work in a small groups scenar-io map, leads to the discussion of solutions, and to the innovation that emerges from the different perspec-tives given by each person.In this context, it will be important to realize that, as a methodological resource in the development of a project, design thinking is able to provide an effective approach to problem solving, naturally facilitating the development of innovative approaches to problem solving, from the perspective of prototyping, rapid analysis and potential selection of end-user-focused solutions. Design thinking, besides guiding as a meth-odology, emerges as a unifying element of visual thinking and the creative process. Our aim with the students involved, based on active research and expression, is give them with skills capable of complementing their expertise, behaviors and methodologies in real work context since this methodology offered focuses on a practical approach.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"117 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":"129878659","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}
Recently, with the expansion of campuses in China, school buses separately cannot meet the needs of students for daily travel. Electrical vehicles have been favored by students contributing to their environmental, convenient, and economical characteristics in their daily life, consequently, related problems emerged. It is considered that the charging of electric vehicles is inconvenient, unsafe, unclear payment details, mainly because of limited sites, lack of maintenance, and site occupancy. In addition, there are certain limitations and backwardness in the payment method of existing charging piles. Students cannot query and manage the charging status of their vehicles in real time. Therefore, it is significant for us to construct and improve electric vehicle charging facilities for better campus environment.Purpose: From the perspective of service design, a solution for the existing problems in the electric vehicles charging piles on campus in China is proposed to facilitate the daily life of teachers and students on campus.Method: Taking the campus of Huazhong University of Science and Technology as an example, the statistics of existing charging piles are collected to enrich our understanding of the pile distribution on the campus, deeper information are excavated via stakeholder interviews in the statistics. After the interview, questionnaires are designed and relevant user role cards are established. Service design related analysis methods: visual analysis by establishing user journey maps, service blueprints, sand table models, role playing, etc. The contact points are discovered to construct the service system design.Conclusion: We demonstrated the ‘instant flash charge’ service scheme, plan the service blueprint, and design the relevant service vouchers. Users can instantly receive convenient charging services through the APP. Operators can also detect the usage status on the back-end computing modules, check and repair the broken charging piles in time, and finally provide users with a complete and smooth charging service.
{"title":"‘Quick Charge’ Optimization Design and Service Practice for Campus Charging Piles","authors":"T. Yang, Qian Ji, Yekai Wei, Chanchan Yao","doi":"10.54941/ahfe1001413","DOIUrl":"https://doi.org/10.54941/ahfe1001413","url":null,"abstract":"Recently, with the expansion of campuses in China, school buses separately cannot meet the needs of students for daily travel. Electrical vehicles have been favored by students contributing to their environmental, convenient, and economical characteristics in their daily life, consequently, related problems emerged. It is considered that the charging of electric vehicles is inconvenient, unsafe, unclear payment details, mainly because of limited sites, lack of maintenance, and site occupancy. In addition, there are certain limitations and backwardness in the payment method of existing charging piles. Students cannot query and manage the charging status of their vehicles in real time. Therefore, it is significant for us to construct and improve electric vehicle charging facilities for better campus environment.Purpose: From the perspective of service design, a solution for the existing problems in the electric vehicles charging piles on campus in China is proposed to facilitate the daily life of teachers and students on campus.Method: Taking the campus of Huazhong University of Science and Technology as an example, the statistics of existing charging piles are collected to enrich our understanding of the pile distribution on the campus, deeper information are excavated via stakeholder interviews in the statistics. After the interview, questionnaires are designed and relevant user role cards are established. Service design related analysis methods: visual analysis by establishing user journey maps, service blueprints, sand table models, role playing, etc. The contact points are discovered to construct the service system design.Conclusion: We demonstrated the ‘instant flash charge’ service scheme, plan the service blueprint, and design the relevant service vouchers. Users can instantly receive convenient charging services through the APP. Operators can also detect the usage status on the back-end computing modules, check and repair the broken charging piles in time, and finally provide users with a complete and smooth charging service.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"40 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":"123249736","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}
Our projects talk about knowledge and experience accumulated through time, so they work like powerful memory boxes. All that information reappears when we start sketching our first exploratory drawings. Architecture always influenced the way we see and understand the world and things in general, the “real” architecture which surrounds us every day, but maybe in a particular way the imaginary one that we can discover through set design projects, ephemeral exhibition design, even visionary drawings related to unbuilt ideas. We aim to demonstrate that jewels and architecture can share fundamental principles. When we look at a jewellery piece, we can observe its volumetric, how does light and shadow model the piece, the scale, the contrast between full and empty spaces, the composition, the sense of horizontality or verticality, its symmetry or asymmetry, its ergonomics, among other aspects but how can we relate to this intriguing object, what kind of emotions can it arouse in us? Perhaps we can play with similar feelings in other scales. In this perspective, our article focuses on the relation between architecture and jewellery applied research considering the philosophy “learning-by-doing” pursued by Charles and Ray Eames, inspiring and timeless references from the past. We follow a design methodology that implies continuous research about other authors and movements, the continuous selection of waste objects and materials, the development of sketches along with all the processes, and experimental prototyping. On the other hand, we incorporate specific goals related to product sustainability since the beginning of the present projects, namely upcycling. The main goals transversal to these experimental series consists of exploring space as a concept, interaction, and, at last, wearability. The jewel itself can have a strong presence in a certain way very close to the artwork but it is created and materialized for real people so we prefer to think about it as design because it is supposed to be owned and appropriated by someone and to contribute simultaneously to communicate their personality, to break with typified and mass fashion design, to conquer an immaterial dimension, to provoke emotion the moment we “dress” it.
{"title":"Somewhere Between Architecture and Jewelry","authors":"Mónica Romãozinho","doi":"10.54941/ahfe1001366","DOIUrl":"https://doi.org/10.54941/ahfe1001366","url":null,"abstract":"Our projects talk about knowledge and experience accumulated through time, so they work like powerful memory boxes. All that information reappears when we start sketching our first exploratory drawings. Architecture always influenced the way we see and understand the world and things in general, the “real” architecture which surrounds us every day, but maybe in a particular way the imaginary one that we can discover through set design projects, ephemeral exhibition design, even visionary drawings related to unbuilt ideas. We aim to demonstrate that jewels and architecture can share fundamental principles. When we look at a jewellery piece, we can observe its volumetric, how does light and shadow model the piece, the scale, the contrast between full and empty spaces, the composition, the sense of horizontality or verticality, its symmetry or asymmetry, its ergonomics, among other aspects but how can we relate to this intriguing object, what kind of emotions can it arouse in us? Perhaps we can play with similar feelings in other scales. In this perspective, our article focuses on the relation between architecture and jewellery applied research considering the philosophy “learning-by-doing” pursued by Charles and Ray Eames, inspiring and timeless references from the past. We follow a design methodology that implies continuous research about other authors and movements, the continuous selection of waste objects and materials, the development of sketches along with all the processes, and experimental prototyping. On the other hand, we incorporate specific goals related to product sustainability since the beginning of the present projects, namely upcycling. The main goals transversal to these experimental series consists of exploring space as a concept, interaction, and, at last, wearability. The jewel itself can have a strong presence in a certain way very close to the artwork but it is created and materialized for real people so we prefer to think about it as design because it is supposed to be owned and appropriated by someone and to contribute simultaneously to communicate their personality, to break with typified and mass fashion design, to conquer an immaterial dimension, to provoke emotion the moment we “dress” it.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"390 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":"124658596","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}
In contemporary society, Social Design practices are crucial for the operability of aggregative solutions. Developing efficient and effective solutions that meet and enhance social needs and responsibilities, combining a greater number of values shared by different sets of individuals. In this way, the creative community must reflect on the behavioral patterns and the way to create and manage solutions able to perspective the agglutination of contexts, for this, different methods and options may be considered in the search for knowledge of experiences and ways of acting, according to social and cultural trends.This article aims to understand how the creation process influences and interconnects individual and collective thinking, in which the context of individuality and diversity is present in the analysis of the problem and, consequently, should be present in the elaboration of the design solution directed to social groups, sometimes also multicultural.These groups of people connected by a common interest, according to Godin (2013), can be considered tribes. Aware or not, the individual is part of many tribes. Tribes without unitary leader identification but create value and effects in society and in the market. In the past, one of the main factors influencing the constitution of tribes was geography. However, the globalization process has expanded and accelerated the number of tribes, which can have relevant power, but often an ephemeral character. Given the constant adaptation of ways of being, thinking, and feeling, the thought process must integrate and identify behavioral and relational models. In this sense, the development and experimentation of design must be associated with an awareness of culture and group unification. The analysis process from individual to collective must develop an exploration and critical evaluation in the face of the groups and multiculturalism. This fact encourages the applicability of Social Design, in order to guide reflection and the development of solutions framed in the multigroup problem.Creating products and services with a cultural link and with symbolic and emotional connections, according to Krucken (2009), is a challenge, considering that the final configuration of the product is a combination between essence and personality, defined consciously or not.In this framework, function (the essence) and form (the personality) play a crucial role in visualizing and strategically anticipating decision-making and design choices.Thus, considering the group individuality and group immensity, our goal is to identify models, to assess weaknesses and/or potential for success or failure, in the applicability of the process and the framing of the result in collective nuclei with identity particularities, as well as, the role that Social Design can play as a synergy binder in the thought process and the final result. The methodology will be based on a case study and literature review.
{"title":"The Design Process, from Individual Thinking to Collective Social","authors":"Sílvia Rala, Ana Paula Gaspar","doi":"10.54941/ahfe1001398","DOIUrl":"https://doi.org/10.54941/ahfe1001398","url":null,"abstract":"In contemporary society, Social Design practices are crucial for the operability of aggregative solutions. Developing efficient and effective solutions that meet and enhance social needs and responsibilities, combining a greater number of values shared by different sets of individuals. In this way, the creative community must reflect on the behavioral patterns and the way to create and manage solutions able to perspective the agglutination of contexts, for this, different methods and options may be considered in the search for knowledge of experiences and ways of acting, according to social and cultural trends.This article aims to understand how the creation process influences and interconnects individual and collective thinking, in which the context of individuality and diversity is present in the analysis of the problem and, consequently, should be present in the elaboration of the design solution directed to social groups, sometimes also multicultural.These groups of people connected by a common interest, according to Godin (2013), can be considered tribes. Aware or not, the individual is part of many tribes. Tribes without unitary leader identification but create value and effects in society and in the market. In the past, one of the main factors influencing the constitution of tribes was geography. However, the globalization process has expanded and accelerated the number of tribes, which can have relevant power, but often an ephemeral character. Given the constant adaptation of ways of being, thinking, and feeling, the thought process must integrate and identify behavioral and relational models. In this sense, the development and experimentation of design must be associated with an awareness of culture and group unification. The analysis process from individual to collective must develop an exploration and critical evaluation in the face of the groups and multiculturalism. This fact encourages the applicability of Social Design, in order to guide reflection and the development of solutions framed in the multigroup problem.Creating products and services with a cultural link and with symbolic and emotional connections, according to Krucken (2009), is a challenge, considering that the final configuration of the product is a combination between essence and personality, defined consciously or not.In this framework, function (the essence) and form (the personality) play a crucial role in visualizing and strategically anticipating decision-making and design choices.Thus, considering the group individuality and group immensity, our goal is to identify models, to assess weaknesses and/or potential for success or failure, in the applicability of the process and the framing of the result in collective nuclei with identity particularities, as well as, the role that Social Design can play as a synergy binder in the thought process and the final result. The methodology will be based on a case study and literature review.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"216 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":"122281591","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}
Livia Tenuta, Alba Cappellieri, Susanna Testa, Beatrice Rossato, F. Moreira da Silva
People have always been central players in the world of jewelry. Not only as artisans who have given life to masterpieces of inestimable material and creative value, but also as users who have used jewelry as a means of expression, as a guardian of immaterial values or as a vehicle for messages. Over time, the human being has accepted the support of the machine in the productive, creative, and communicative processes, and today the world of jewelry swings between handmade and machine-made. Digital technology is increasingly affecting the production processes, the product itself, and the services connected to it. First, the paper aims to highlight the complexity in defining the role of luxury and handmade associated with the world of jewelry. Secondly, it aims to analyze the handmade relationship in the world of jewelry as a driving force for creating new values, of which the designer is the mediator. How the machine-made paradigm fits into the design, production, or communication of jewelry is described with contextual research from the second half of the last century until today, outlining the best examples in Italy and abroad. Then, an academic workshop is presented to investigate better the role of design in managing craftsmanship combined with new emerging technologies. The research on the context brings out the different declinations that the hand-machine relationship brings out in the world of jewelry. Then, the results obtained involve the analysis of the projects developed during the workshop, mediated through the relationship between hand and machine, underlining the designer's role. Innovation and technology, together with design methodology, redefine the stylistic features but also - and above all - deconstructs the classic concept of preciousness, resulting in the modification of the perception of the value. This implies a redefinition of the traditional parameters of luxury and the role of the human being, and a different way of designing its products. Finally, the paper analyzes the jewelry field and the designer's ability to develop the relationship between craftsmanship and new technologies, underlining the new value systems that this relationship can create.
{"title":"Hand-Made Jewelry in the Age of Digital Technology","authors":"Livia Tenuta, Alba Cappellieri, Susanna Testa, Beatrice Rossato, F. Moreira da Silva","doi":"10.54941/ahfe1001368","DOIUrl":"https://doi.org/10.54941/ahfe1001368","url":null,"abstract":"People have always been central players in the world of jewelry. Not only as artisans who have given life to masterpieces of inestimable material and creative value, but also as users who have used jewelry as a means of expression, as a guardian of immaterial values or as a vehicle for messages. Over time, the human being has accepted the support of the machine in the productive, creative, and communicative processes, and today the world of jewelry swings between handmade and machine-made. Digital technology is increasingly affecting the production processes, the product itself, and the services connected to it. First, the paper aims to highlight the complexity in defining the role of luxury and handmade associated with the world of jewelry. Secondly, it aims to analyze the handmade relationship in the world of jewelry as a driving force for creating new values, of which the designer is the mediator. How the machine-made paradigm fits into the design, production, or communication of jewelry is described with contextual research from the second half of the last century until today, outlining the best examples in Italy and abroad. Then, an academic workshop is presented to investigate better the role of design in managing craftsmanship combined with new emerging technologies. The research on the context brings out the different declinations that the hand-machine relationship brings out in the world of jewelry. Then, the results obtained involve the analysis of the projects developed during the workshop, mediated through the relationship between hand and machine, underlining the designer's role. Innovation and technology, together with design methodology, redefine the stylistic features but also - and above all - deconstructs the classic concept of preciousness, resulting in the modification of the perception of the value. This implies a redefinition of the traditional parameters of luxury and the role of the human being, and a different way of designing its products. Finally, the paper analyzes the jewelry field and the designer's ability to develop the relationship between craftsmanship and new technologies, underlining the new value systems that this relationship can create.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"45 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":"127928570","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}
Typically, the teaching-learning process about materials and manufacturing processes for design include a range of tasks: knowledge restricted to industries; designers’ responsibilities; functional requirements; and subjective values. For instance, materials knowledge is fundamental for designers. Considering this mix of competences and additionally the quantity and complexity of the subject, the process of teaching-learning about materials is challenging. This paper discusses the visual representations as strategy for materials and manufacturing processes learning into design education. We argue that traditional sources as demonstrations and reports are important to classes, but visualizations have the causal effect. To demonstrate the proposition, we present an experience report.
{"title":"Facilitating Materials Learning into Design Education through Visual Representations","authors":"Aline Teixeira Souza Silva, F. Moreira da Silva","doi":"10.54941/ahfe1001389","DOIUrl":"https://doi.org/10.54941/ahfe1001389","url":null,"abstract":"Typically, the teaching-learning process about materials and manufacturing processes for design include a range of tasks: knowledge restricted to industries; designers’ responsibilities; functional requirements; and subjective values. For instance, materials knowledge is fundamental for designers. Considering this mix of competences and additionally the quantity and complexity of the subject, the process of teaching-learning about materials is challenging. This paper discusses the visual representations as strategy for materials and manufacturing processes learning into design education. We argue that traditional sources as demonstrations and reports are important to classes, but visualizations have the causal effect. To demonstrate the proposition, we present an experience report.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"1 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":"130926701","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}
João Gomes Ferreira, Rita Moura, Ana Margarida Ferreira, Vasco Milne, Eduardo Gonçalves, Diamantino Abreu, L. Guerreiro
Severe earthquakes striking urban areas usually have catastrophic effects, and this risk is particularly acute in cities with more vulnerable buildings located in seismic-prone regions. The ideal solution to overcome this problem is to strengthen (or, in extreme situations, demolish) all vulnerable buildings located in seismic zones to ensure their safety and, thus, the safety of their users. However, this global approach is unfeasible because most owners need to be aware of the problem or have the financial capacity to implement such a solution. In this context, a project was developed entitled SHELTER – “Structural Hyper-resisting Element for Life-Threatening Earthquake Risk”, aiming at finding a viable solution to save human lives in severe seismic events, even when structural collapse occurs.The solution consists of installing a safety “capsule”, i.e., creating a located and structurally robust reinforcement of an accessible zone of the apartment/office where users can be safely protected.Four key aspects had to be addressed to make this concept effective: (i) the users had to be alerted in due time to get into the shelter before the violent shaking started; (ii) the capsule had to resist the actions caused by the building collapse without significant deformations; (iii) people had to survive during the building collapse, and (iv) people had to survive during the time entrapped within the capsule until the rescue teams arrival.This paper focuses on the design of the systems addressing survival during both the building collapse and the entrapped period.The survival during building collapse was based on safety seats, designed within the scope of the SHELTER project, provided with a shock absorber system constituted by a damper and elastic springs. These safety seats can strongly attenuate the peak accelerations that the shelter undergoes due to impacts, highly increasing survival chances.To ensure survival during the entrapped period, fundamental life-supporting needs were first listed: hydration, nutrition, dejection, breathing, SOS emission, thermal comfort, and psychological comfort. These needs were then fulfilled with the corresponding supporting systems or goods, which must be installed in the lifesaving capsule.
{"title":"SHELTER Project: Designing an innovative solution for earthquake resilience and survival","authors":"João Gomes Ferreira, Rita Moura, Ana Margarida Ferreira, Vasco Milne, Eduardo Gonçalves, Diamantino Abreu, L. Guerreiro","doi":"10.54941/ahfe1003534","DOIUrl":"https://doi.org/10.54941/ahfe1003534","url":null,"abstract":"Severe earthquakes striking urban areas usually have catastrophic effects, and this risk is particularly acute in cities with more vulnerable buildings located in seismic-prone regions. The ideal solution to overcome this problem is to strengthen (or, in extreme situations, demolish) all vulnerable buildings located in seismic zones to ensure their safety and, thus, the safety of their users. However, this global approach is unfeasible because most owners need to be aware of the problem or have the financial capacity to implement such a solution. In this context, a project was developed entitled SHELTER – “Structural Hyper-resisting Element for Life-Threatening Earthquake Risk”, aiming at finding a viable solution to save human lives in severe seismic events, even when structural collapse occurs.The solution consists of installing a safety “capsule”, i.e., creating a located and structurally robust reinforcement of an accessible zone of the apartment/office where users can be safely protected.Four key aspects had to be addressed to make this concept effective: (i) the users had to be alerted in due time to get into the shelter before the violent shaking started; (ii) the capsule had to resist the actions caused by the building collapse without significant deformations; (iii) people had to survive during the building collapse, and (iv) people had to survive during the time entrapped within the capsule until the rescue teams arrival.This paper focuses on the design of the systems addressing survival during both the building collapse and the entrapped period.The survival during building collapse was based on safety seats, designed within the scope of the SHELTER project, provided with a shock absorber system constituted by a damper and elastic springs. These safety seats can strongly attenuate the peak accelerations that the shelter undergoes due to impacts, highly increasing survival chances.To ensure survival during the entrapped period, fundamental life-supporting needs were first listed: hydration, nutrition, dejection, breathing, SOS emission, thermal comfort, and psychological comfort. These needs were then fulfilled with the corresponding supporting systems or goods, which must be installed in the lifesaving capsule.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"23 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":"125594656","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}
AbstractWith the acceleration of urbanization around the world, subway space has become a special and necessary public space. The complexity of the subway environment, the diversity of passenger needs, and the integration of urban culture have brought new problems to the future development of subway space. Development is increasingly using design as a means to address social development issues. This paper conducts online or field research on representative subway stations in New York, Stockholm, Shenzhen and other cities, and discusses the feasibility of subway public art design based on urban spirit and the necessity of systemic design thinking intervention research. The material carrier of publicity and urban spirit, analyzing the path and elements of subway public art system design, from the macro level (theme planning and station classification strategy), the meso level (site selection strategy of multi-point layout) and the micro level (design elements generation) to propose a systematic design strategy at three levels.Research BackgroundThe early 20th century had seen the commencement of public art research. After a century of growth, its study subfields have been honed, and several studies on public art in subways have surfaced.Public art is an important medium to create a subway space atmosphere, which is the most intuitive embodiment of a city subway different from other cities. At present, although there have been many studies on the relationship between subway public art and urban spirit, most of the creative themes of subway public art are the translation and presentation of cultural elements, and most of them are based on the individuality of a station, lacking the integrity and continuity of the expression of urban spirit from the perspective of the lack of layout of the whole line of the subway network. There are scattered creations, and the integrity of the public's understanding of the urban spirit has not yet been formed. A system that promotes memory reinforcement.A statement of the objectiveThe research takes the promotion of the city spirit as the starting point, strengthens the city people's cognition, memory, understanding and recognition of the city spirit as the goal, takes the advantage of the wide coverage, tight connection and many nodes of the urban subway network space, takes the subway public art as the material carrier of publicity and the city spirit, analyzes the elements of the subway public art systematic design,and puts forward the subway public art systematic construction strategy based on the city spirit.A statement of the significanceA public art work is composed of multiple design elements, including the theme concept, scale, form of expression, technical means, shape, color and material of the work. The manifestation of urban spirit by the work is the embodiment of urban spirit by the design elements. The significance of this topic is shown in the following four aspects: 1. Taking the city spirit as the s
{"title":"Systematic design and construction strategy of subway public art based on urban spirit","authors":"L. Lian","doi":"10.54941/ahfe1003529","DOIUrl":"https://doi.org/10.54941/ahfe1003529","url":null,"abstract":"AbstractWith the acceleration of urbanization around the world, subway space has become a special and necessary public space. The complexity of the subway environment, the diversity of passenger needs, and the integration of urban culture have brought new problems to the future development of subway space. Development is increasingly using design as a means to address social development issues. This paper conducts online or field research on representative subway stations in New York, Stockholm, Shenzhen and other cities, and discusses the feasibility of subway public art design based on urban spirit and the necessity of systemic design thinking intervention research. The material carrier of publicity and urban spirit, analyzing the path and elements of subway public art system design, from the macro level (theme planning and station classification strategy), the meso level (site selection strategy of multi-point layout) and the micro level (design elements generation) to propose a systematic design strategy at three levels.Research BackgroundThe early 20th century had seen the commencement of public art research. After a century of growth, its study subfields have been honed, and several studies on public art in subways have surfaced.Public art is an important medium to create a subway space atmosphere, which is the most intuitive embodiment of a city subway different from other cities. At present, although there have been many studies on the relationship between subway public art and urban spirit, most of the creative themes of subway public art are the translation and presentation of cultural elements, and most of them are based on the individuality of a station, lacking the integrity and continuity of the expression of urban spirit from the perspective of the lack of layout of the whole line of the subway network. There are scattered creations, and the integrity of the public's understanding of the urban spirit has not yet been formed. A system that promotes memory reinforcement.A statement of the objectiveThe research takes the promotion of the city spirit as the starting point, strengthens the city people's cognition, memory, understanding and recognition of the city spirit as the goal, takes the advantage of the wide coverage, tight connection and many nodes of the urban subway network space, takes the subway public art as the material carrier of publicity and the city spirit, analyzes the elements of the subway public art systematic design,and puts forward the subway public art systematic construction strategy based on the city spirit.A statement of the significanceA public art work is composed of multiple design elements, including the theme concept, scale, form of expression, technical means, shape, color and material of the work. The manifestation of urban spirit by the work is the embodiment of urban spirit by the design elements. The significance of this topic is shown in the following four aspects: 1. Taking the city spirit as the s","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"56 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":"124025654","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}
Sustainability is, currently, one of society's main paradigms and depends, above all, on the way in which we plane and trace new paths so that, in a systemic, integrated and transdisciplinary way, choices are objective and made based on a greater collective good. It is at this point that sustainability meets design and art, as all formal, informal, and non-formal artefacts are, at some level, constituents and agents of change. The complementarities between design and art are increasingly identified in fine details and that is why we often see art migrating to stores and design artefacts to museums. This relationship between art and design aims to develop a new language for industrial culture. By applying a theoretical perspective capable of articulating the fundamental dimensions of the man’s relationship with the environment and highlighting the aesthetics of sustainability, it will consequently highlight the beauty of the complementarity of antagonisms in art and design interventions, thus playing an important role in the process of “socialization” of society. Being sustainability the subject of the moment and with roots for the future, this exploratory article seeks to investigate the dialectics between design and art and foresee future practices that will be the answers of tomorrow.
{"title":"Dialectic of the Sustainability: Design and Art new Frontiers","authors":"R. Moutinho, E. Aparo, P. Dinis","doi":"10.54941/ahfe1003539","DOIUrl":"https://doi.org/10.54941/ahfe1003539","url":null,"abstract":"Sustainability is, currently, one of society's main paradigms and depends, above all, on the way in which we plane and trace new paths so that, in a systemic, integrated and transdisciplinary way, choices are objective and made based on a greater collective good. It is at this point that sustainability meets design and art, as all formal, informal, and non-formal artefacts are, at some level, constituents and agents of change. The complementarities between design and art are increasingly identified in fine details and that is why we often see art migrating to stores and design artefacts to museums. This relationship between art and design aims to develop a new language for industrial culture. By applying a theoretical perspective capable of articulating the fundamental dimensions of the man’s relationship with the environment and highlighting the aesthetics of sustainability, it will consequently highlight the beauty of the complementarity of antagonisms in art and design interventions, thus playing an important role in the process of “socialization” of society. Being sustainability the subject of the moment and with roots for the future, this exploratory article seeks to investigate the dialectics between design and art and foresee future practices that will be the answers of tomorrow.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"13 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":"117187678","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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