D. Raposo, Ricardo Correia, Rogério Ribeiro, João Neves
The aim of this paper is to evaluate the graphic resistance and visual performance of Brand Marks in use on websites and social media. It aims to bring knowledge about the impact of digital media on the design of contemporary Brand Marks, but especially the limitations observed in the trademarks of brands originated during the 20th century or previously.Considering nowadays impact of online and digital communication, the internet of things, and the diversity of multiple screen dimensions, it is important to take a closer look at the performance of Brand Marks on websites, responsive web pages, audio-visuals, and social media.This topic is very relevant when studying or developing flexible systems of brand identification or even Brand Mark variants and respective visual guidelines. Specifically, we intend to observe how the design of Brand Marks and the digital environment compromise the graphic coherence of Visual Identity and brand identification.A systematic methodology was adopted, with a non-interventionist base, with the case study of 32 large and international brands. The results consist in the identification of a set of principles and graphic features which Brand Marks should follow to ensure its recognition, the coherence of Visual Identity and brand identification.
{"title":"Brand Marks' performance in digital media","authors":"D. Raposo, Ricardo Correia, Rogério Ribeiro, João Neves","doi":"10.54941/ahfe1003531","DOIUrl":"https://doi.org/10.54941/ahfe1003531","url":null,"abstract":"The aim of this paper is to evaluate the graphic resistance and visual performance of Brand Marks in use on websites and social media. It aims to bring knowledge about the impact of digital media on the design of contemporary Brand Marks, but especially the limitations observed in the trademarks of brands originated during the 20th century or previously.Considering nowadays impact of online and digital communication, the internet of things, and the diversity of multiple screen dimensions, it is important to take a closer look at the performance of Brand Marks on websites, responsive web pages, audio-visuals, and social media.This topic is very relevant when studying or developing flexible systems of brand identification or even Brand Mark variants and respective visual guidelines. Specifically, we intend to observe how the design of Brand Marks and the digital environment compromise the graphic coherence of Visual Identity and brand identification.A systematic methodology was adopted, with a non-interventionist base, with the case study of 32 large and international brands. The results consist in the identification of a set of principles and graphic features which Brand Marks should follow to ensure its recognition, the coherence of Visual Identity and brand identification.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"3 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":"127079815","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}
Vera Barradas, Ana Loures, L. Loures, José Silveira Dias, Victoria Carrillo Durán
This paper is part of research under development, which aims to define a set of criteria and/or parameters in the fields of design and communication, to enhance the sustainability of Low-Density Territories, through the recognition of their identity and their distinctive signs.Thus, this article aims to know if the colour is constituted as a distinctive sign and contributes to the identity of the territory.According to studies developed by several authors over the past few years, the distinctive signs, whether tangible or intangible, are identifying and differentiating elements that ensure ethical and fair competition, which encourages sustainability. They can contribute decisively to the construction of a region's iconography, the reaffirmation of its territorial imprint and are a stimulus to territorial development. In the context of signs and place identity comes the concept of genius loci, or spirit of place, created by Norberg-Schulz, which refers to the distinctiveness that characterises each place.As long as there is light, colour is in every landscape we see. Whether they are, or not, worked, by Man, each landscape holds a palette that is composed of the colours that compose it: sky, vegetation, soil, rocks, buildings, signs, among others.For Simon Bell (1993), despite the chromatic variability that landscapes present, they are associated to a limited scale of colours, a fact that facilitates the definition of a local identity.Talking about local identity, as far as colour is concerned, leads to the concept of Colore Loci, which derives from the previously mentioned Genius Loci, created by Raimondo, to demonstrate the unique characteristics of a given place.In order to achieve the established objective, three types of landscape were identified: Natural Landscape, characterized by being able to have, or not, human intervention, but where the action of nature prevails and where the presence of construction is very reduced or even null; Landscape built by Man using local natural resources, refers, for example, to urban agglomerations where local materials are used to build, i.e. where local stone is used for the design of streets and pavements, for the cladding of buildings, or for the construction of exposed stone walls; and Painted Landscape, which is one that, regardless of whether or not it uses materials from the region, stands out for its deliberate use of artificial colours, which make these landscapes unmistakable.Through the analysis carried out it was possible to conclude that colour is even a distinctive sign of the territory, since each place has different types of heritage, natural and built, and these give the landscape distinctive shades, through permanent and non-permanent colours. However, and turning the focus to the valuation and attractiveness of the territories, which is the central theme of the doctoral research, it can be stated that the colour, and its use, can also create the identity of a place, and thus enhance it
{"title":"Colour as a Distinctive Element of the Territories","authors":"Vera Barradas, Ana Loures, L. Loures, José Silveira Dias, Victoria Carrillo Durán","doi":"10.54941/ahfe1001381","DOIUrl":"https://doi.org/10.54941/ahfe1001381","url":null,"abstract":"This paper is part of research under development, which aims to define a set of criteria and/or parameters in the fields of design and communication, to enhance the sustainability of Low-Density Territories, through the recognition of their identity and their distinctive signs.Thus, this article aims to know if the colour is constituted as a distinctive sign and contributes to the identity of the territory.According to studies developed by several authors over the past few years, the distinctive signs, whether tangible or intangible, are identifying and differentiating elements that ensure ethical and fair competition, which encourages sustainability. They can contribute decisively to the construction of a region's iconography, the reaffirmation of its territorial imprint and are a stimulus to territorial development. In the context of signs and place identity comes the concept of genius loci, or spirit of place, created by Norberg-Schulz, which refers to the distinctiveness that characterises each place.As long as there is light, colour is in every landscape we see. Whether they are, or not, worked, by Man, each landscape holds a palette that is composed of the colours that compose it: sky, vegetation, soil, rocks, buildings, signs, among others.For Simon Bell (1993), despite the chromatic variability that landscapes present, they are associated to a limited scale of colours, a fact that facilitates the definition of a local identity.Talking about local identity, as far as colour is concerned, leads to the concept of Colore Loci, which derives from the previously mentioned Genius Loci, created by Raimondo, to demonstrate the unique characteristics of a given place.In order to achieve the established objective, three types of landscape were identified: Natural Landscape, characterized by being able to have, or not, human intervention, but where the action of nature prevails and where the presence of construction is very reduced or even null; Landscape built by Man using local natural resources, refers, for example, to urban agglomerations where local materials are used to build, i.e. where local stone is used for the design of streets and pavements, for the cladding of buildings, or for the construction of exposed stone walls; and Painted Landscape, which is one that, regardless of whether or not it uses materials from the region, stands out for its deliberate use of artificial colours, which make these landscapes unmistakable.Through the analysis carried out it was possible to conclude that colour is even a distinctive sign of the territory, since each place has different types of heritage, natural and built, and these give the landscape distinctive shades, through permanent and non-permanent colours. However, and turning the focus to the valuation and attractiveness of the territories, which is the central theme of the doctoral research, it can be stated that the colour, and its use, can also create the identity of a place, and thus enhance it ","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"192 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":"127668314","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}
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}
G. Forman, Michele Santos, P. Ferreira, A. Bandoni
The current environmental crisis is turning designers to the development of new biodegradable materials, that are produced through clean processes: the biomaterials. They present not only alternatives to existing materials, but actually an opportunity to reflect upon new materialities that indicate different ways of consuming and living to their users. In order to be massively adopted and lead change, biomaterials need to be validated and possibly co-created with real communities. Complemented by a literature review and by two surveys, one directed to rapid prototyping facilities’ coordinators/founders, and another with a focus on citizens from Portugal, this research explores how biomaterials can connect Design and their surrounding communities. A deeper understanding of related dynamics and how the democratization of Design processes unfolds and is perceived is key to effective communication and implementation of holism-focused methodologies. Additionally, this study highlights aspects such as the role or the empowerment of the community through the search for solutions and activism.
{"title":"Biomateriality Bridging Design and the Community","authors":"G. Forman, Michele Santos, P. Ferreira, A. Bandoni","doi":"10.54941/ahfe1001388","DOIUrl":"https://doi.org/10.54941/ahfe1001388","url":null,"abstract":"The current environmental crisis is turning designers to the development of new biodegradable materials, that are produced through clean processes: the biomaterials. They present not only alternatives to existing materials, but actually an opportunity to reflect upon new materialities that indicate different ways of consuming and living to their users. In order to be massively adopted and lead change, biomaterials need to be validated and possibly co-created with real communities. Complemented by a literature review and by two surveys, one directed to rapid prototyping facilities’ coordinators/founders, and another with a focus on citizens from Portugal, this research explores how biomaterials can connect Design and their surrounding communities. A deeper understanding of related dynamics and how the democratization of Design processes unfolds and is perceived is key to effective communication and implementation of holism-focused methodologies. Additionally, this study highlights aspects such as the role or the empowerment of the community through the search for solutions and activism.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"285 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":"114406057","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}
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}
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}
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}
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