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}
José Silva, R. Almendra, Tiago Navarro Marques, D. Raposo, João Neves
The following article describes a Persona Method through Visual Clues (PMVC) in a learning setting performed in the course of Interface Design I, degree of Design, School of Arts, University of Evora, Portugal, in the academic year of 2021/22. The study follows a descriptive case methodology. The purposed PMVC concerns the project’s early stage and reveals how a mosaic assemblage of visual clues allows an itinerary on cohesive information acquisition in guiding the design project. The proposed PMVC allowed students to valorize life contexts when projecting a persona, enabling a strong focus on consumers and work contexts. Although working in fictionalized settings, the PMVC triggers the reasoning on the complexity of the contexts, deploying information that will deliver more reality into Personas. Keywords: Visual methods, Communication Design, Persona Method, Design Literacy
{"title":"Enveloping a day – Persona visual mapping","authors":"José Silva, R. Almendra, Tiago Navarro Marques, D. Raposo, João Neves","doi":"10.54941/ahfe1001390","DOIUrl":"https://doi.org/10.54941/ahfe1001390","url":null,"abstract":"The following article describes a Persona Method through Visual Clues (PMVC) in a learning setting performed in the course of Interface Design I, degree of Design, School of Arts, University of Evora, Portugal, in the academic year of 2021/22. The study follows a descriptive case methodology. The purposed PMVC concerns the project’s early stage and reveals how a mosaic assemblage of visual clues allows an itinerary on cohesive information acquisition in guiding the design project. The proposed PMVC allowed students to valorize life contexts when projecting a persona, enabling a strong focus on consumers and work contexts. Although working in fictionalized settings, the PMVC triggers the reasoning on the complexity of the contexts, deploying information that will deliver more reality into Personas. Keywords: Visual methods, Communication Design, Persona Method, Design Literacy","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"403 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":"133006214","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}
M. Guarino, Marlene Lages, Ipek Suluova, Rui Fonseca Pinto, N. Lopes
Diabetes is a disease with high prevalence worldwide, however, about 44% of patients are asymptomatic, which leads to a later diagnosis of the disease and, consequently, increases the risk of developing complications. The development of new approaches for early diagnosis is imperative to allow proper adoption of preventive measures. From a motivational point of view, it is easier for patients to adopt healthy eating habits and lifestyles when there is an altered marker that indicates subclinical disease, particularly in a pathology that remains asymptomatic until advanced stages. Thus, timely diagnosis based on a measurable and monitorable indicator is extremely important so that such behaviors are implemented as early as possible, increasing effective health gains and reducing the costs related to this pathology. Pre-clinical studies in animal models have shown that the etiology of type 2 diabetes mellitus (T2DM) is related to alterations in the carotid bodies (CB), chemosensory organs located in the bifurcation of the carotid arteries. In animals with T2DM it has been observed that the CBs are overactivated causing an increased heart rate, respiratory rate, and blood glucose levels. In humans, this mechanism has been confirmed but is not yet well-characterized. This paper highlights the importance of developing a device that allows early detection of changes in CB activity correlating it with emerging diabetes. The design strategies to prototype the CBmeter were to model and characterize the features of interest for the diagnosis- respiratory rate, heart rate, peripheral oxygen saturation and glucose - in healthy people and people with diabetes using a combination of set commercial sensors pre-existent in the market that were integrated to collect real-time data. After determining health and disease patterns, the CBmeter development pipeline includes a co-design approach in which physiologists, endocrinologists, nurses, computer and electrical engineers, designers and patients are collaborating to develop an easy-to-use, portable, and minimally invasive medical device that associates CB function with endocrine dysregulation, with very small discomfort and risk for users. The definition and specification of the most appropriate architecture for the CBmeter, in order to allow its modularity, signal acquisition and consequently the communication between the sensor/device and the receiver/backend in the most efficient way is being allied to the selection of materials, tools and steps to create an innovative product, that will fill a technical gap in the market, designed for the early diagnosis of metabolic diseases, in a subclinical phase, with the potential to contribute with significant gains for public health in the medium/long term.
{"title":"The CBmeter: designing innovative strategies for early diagnosis of metabolic diseases","authors":"M. Guarino, Marlene Lages, Ipek Suluova, Rui Fonseca Pinto, N. Lopes","doi":"10.54941/ahfe1001410","DOIUrl":"https://doi.org/10.54941/ahfe1001410","url":null,"abstract":"Diabetes is a disease with high prevalence worldwide, however, about 44% of patients are asymptomatic, which leads to a later diagnosis of the disease and, consequently, increases the risk of developing complications. The development of new approaches for early diagnosis is imperative to allow proper adoption of preventive measures. From a motivational point of view, it is easier for patients to adopt healthy eating habits and lifestyles when there is an altered marker that indicates subclinical disease, particularly in a pathology that remains asymptomatic until advanced stages. Thus, timely diagnosis based on a measurable and monitorable indicator is extremely important so that such behaviors are implemented as early as possible, increasing effective health gains and reducing the costs related to this pathology. Pre-clinical studies in animal models have shown that the etiology of type 2 diabetes mellitus (T2DM) is related to alterations in the carotid bodies (CB), chemosensory organs located in the bifurcation of the carotid arteries. In animals with T2DM it has been observed that the CBs are overactivated causing an increased heart rate, respiratory rate, and blood glucose levels. In humans, this mechanism has been confirmed but is not yet well-characterized. This paper highlights the importance of developing a device that allows early detection of changes in CB activity correlating it with emerging diabetes. The design strategies to prototype the CBmeter were to model and characterize the features of interest for the diagnosis- respiratory rate, heart rate, peripheral oxygen saturation and glucose - in healthy people and people with diabetes using a combination of set commercial sensors pre-existent in the market that were integrated to collect real-time data. After determining health and disease patterns, the CBmeter development pipeline includes a co-design approach in which physiologists, endocrinologists, nurses, computer and electrical engineers, designers and patients are collaborating to develop an easy-to-use, portable, and minimally invasive medical device that associates CB function with endocrine dysregulation, with very small discomfort and risk for users. The definition and specification of the most appropriate architecture for the CBmeter, in order to allow its modularity, signal acquisition and consequently the communication between the sensor/device and the receiver/backend in the most efficient way is being allied to the selection of materials, tools and steps to create an innovative product, that will fill a technical gap in the market, designed for the early diagnosis of metabolic diseases, in a subclinical phase, with the potential to contribute with significant gains for public health in the medium/long term.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115250443","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 an inland southern region of Portugal, pathologies that intersect social and environmental problems have been identified, such as low density, aged and dispersed population, as well as low rainfall and high temperatures. An applied research and development initiative endorsing those problems was carried out by students and staff of the University of Lisbon along two years. This text reflects on this experience and the role of design on such predicaments.The research questions are: how and what kind of innovation can design bring to the community's quality of life in territories under adverse conditions of that kind?A previous analysis, carried out between local authorities and our design school, allowed us to trace two lines of investigation, one aimed at intensifying the flow of people within the territory, and the other focused on promoting the relationship between Man and his environment.Considering that design can contribute to the process of social change, through design for social innovation and collaborative services, we reflect on the main characteristics that the design projects must contemplate, which are: a user-centered perspective; be a participatory process; to draft with a sustainability perspective; adopt a multilevel perspective; to endorse innovation and; sustain problem solving.The research methodology involves the transversal use of design methods and participatory processes, immersion in the territory, collection of primary and secondary data, definition of the concept, development of proposals, communication and validation by the municipal authorities.The results are a set of projects with a wide range of solutions in the field of social innovation, with the aim of valuing social interaction, valuing culture and regenerating the local landscape, namely: a cultural caravan service; a Lab-desk service; a cultural project to reactivate community wood-fired bread ovens; a website to publicize local projects focused on agroecological food; a Center for the Intangible Cultural Heritage; a co-working and co-living service; an environmental festival; a research service aimed at better understanding the needs of the “silent population”; a garden at the historic urban center of Mértola town; a public botanical garden; and, the renovation of a public area in a small village.The relevance of this work lies in the assertion of the potential of design strategies for social inovation, particularly in a context of social and environmental adversity, where design can fullfill a key role valuing the daily lives of populations. This article demonstrates that there is an immense space for work involving the public institutions managing this type of territories and the design academia. From our experience, a transversal line stands out: the intersection between local knowledge and the external population. This converges it the idea that the value that design brings to this kind of community is the drafting of arenas of social interaction wher
{"title":"Design Strategies for Socio-Environmentally Adverse Territories","authors":"Ana Thudichum Vasconcelos, J. Cruz","doi":"10.54941/ahfe1001392","DOIUrl":"https://doi.org/10.54941/ahfe1001392","url":null,"abstract":"In an inland southern region of Portugal, pathologies that intersect social and environmental problems have been identified, such as low density, aged and dispersed population, as well as low rainfall and high temperatures. An applied research and development initiative endorsing those problems was carried out by students and staff of the University of Lisbon along two years. This text reflects on this experience and the role of design on such predicaments.The research questions are: how and what kind of innovation can design bring to the community's quality of life in territories under adverse conditions of that kind?A previous analysis, carried out between local authorities and our design school, allowed us to trace two lines of investigation, one aimed at intensifying the flow of people within the territory, and the other focused on promoting the relationship between Man and his environment.Considering that design can contribute to the process of social change, through design for social innovation and collaborative services, we reflect on the main characteristics that the design projects must contemplate, which are: a user-centered perspective; be a participatory process; to draft with a sustainability perspective; adopt a multilevel perspective; to endorse innovation and; sustain problem solving.The research methodology involves the transversal use of design methods and participatory processes, immersion in the territory, collection of primary and secondary data, definition of the concept, development of proposals, communication and validation by the municipal authorities.The results are a set of projects with a wide range of solutions in the field of social innovation, with the aim of valuing social interaction, valuing culture and regenerating the local landscape, namely: a cultural caravan service; a Lab-desk service; a cultural project to reactivate community wood-fired bread ovens; a website to publicize local projects focused on agroecological food; a Center for the Intangible Cultural Heritage; a co-working and co-living service; an environmental festival; a research service aimed at better understanding the needs of the “silent population”; a garden at the historic urban center of Mértola town; a public botanical garden; and, the renovation of a public area in a small village.The relevance of this work lies in the assertion of the potential of design strategies for social inovation, particularly in a context of social and environmental adversity, where design can fullfill a key role valuing the daily lives of populations. This article demonstrates that there is an immense space for work involving the public institutions managing this type of territories and the design academia. From our experience, a transversal line stands out: the intersection between local knowledge and the external population. This converges it the idea that the value that design brings to this kind of community is the drafting of arenas of social interaction wher","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"130 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":"115080934","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}
Caio Miolo De Oliveira, Rita Assoreira Almendra, Ana Rita Lourenço, T. Leitão
Design profession has become quite resignified over time, being increasingly associated with an approach to involve people working collaboratively to co-create new opportunities for the welfare, solve complex problems or even favor innovation processes, whether they are applied in business environments or in the social sphere. By acting in this scope, Design is articulating social innovation processes, as it is developing strategies, whether through products or services, so that the actors related to the existing context can be active agents of transformation. In synergy with this approach, there is another participatory aspect, originating from other areas of knowledge: Community Engagement Methodology. This encompasses a process for providing information, empowering the community to identify solutions to their needs, as well as influencing priorities and strategic decisions. In this context, despite having enough theoretical and practical research implemented to favor community engagement, it appears that the academic curricula of Design courses do not work so specifically with community engagement/ implementation of social innovation processes. Thus, this paper reveals a methodology developed during PhD research in Design that aimed to favor the social reintegration of offenders and ex-offenders. This methodology, made up of different methods, was created in codesign with a Portuguese social cooperative, which was one of the promoters of a project co-founded by the European Union, between 2017 and 2020. The methodology was applied to professionals of the Criminal Justice System who work within the scope of reintegration in four countries (Portugal, Italy, Romania, and Germany), who evaluated it very positively. Therefore, the purpose of this article is to reveal the community involvement methodology created and propose ways that it can be implemented in Design curricula, to encourage and favor the development of solutions and improvements in different social contexts.
{"title":"Community Engagement Methodology for the Academic Design Curriculum","authors":"Caio Miolo De Oliveira, Rita Assoreira Almendra, Ana Rita Lourenço, T. Leitão","doi":"10.54941/ahfe1001372","DOIUrl":"https://doi.org/10.54941/ahfe1001372","url":null,"abstract":"Design profession has become quite resignified over time, being increasingly associated with an approach to involve people working collaboratively to co-create new opportunities for the welfare, solve complex problems or even favor innovation processes, whether they are applied in business environments or in the social sphere. By acting in this scope, Design is articulating social innovation processes, as it is developing strategies, whether through products or services, so that the actors related to the existing context can be active agents of transformation. In synergy with this approach, there is another participatory aspect, originating from other areas of knowledge: Community Engagement Methodology. This encompasses a process for providing information, empowering the community to identify solutions to their needs, as well as influencing priorities and strategic decisions. In this context, despite having enough theoretical and practical research implemented to favor community engagement, it appears that the academic curricula of Design courses do not work so specifically with community engagement/ implementation of social innovation processes. Thus, this paper reveals a methodology developed during PhD research in Design that aimed to favor the social reintegration of offenders and ex-offenders. This methodology, made up of different methods, was created in codesign with a Portuguese social cooperative, which was one of the promoters of a project co-founded by the European Union, between 2017 and 2020. The methodology was applied to professionals of the Criminal Justice System who work within the scope of reintegration in four countries (Portugal, Italy, Romania, and Germany), who evaluated it very positively. Therefore, the purpose of this article is to reveal the community involvement methodology created and propose ways that it can be implemented in Design curricula, to encourage and favor the development of solutions and improvements in different social contexts.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"18 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":"125215927","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}
This article is an ongoing research and takes Tantra (Saraswati, 1981) to present an academic project that refers to the expansion of knowledge, understanding the body of an object through as a supreme shelter link. On the one hand, the female element represents the a whole as the beginning of everything and the supreme power of creation. On the other hand, the male element is associated with transcendence.Similar to designing, from the perspective of tantrism, the union of the two energies - feminine and masculine – is crucial and for this reason, the care of the object's body is essential.Phenomenologically, as Feuerstein (2005) states the tantric point of view does not deny the world of experiences, but views positively the culture of potential intrinsic psychophysical body and mind. This thesis comprises not only time and space, but also the external factors that cross-fertilize reality and, for this reason, enter into design process. In this sense, objects’ body is full of organs, but visible only to designers, requiring guidance from a master.In art, in early 20th century, there were similarities between the abstractions of Paul Klee, Piet Mondrian or Robert Delaunay. After that, Neo Tantrism emerged in the 1960s with the indian artist K. C.S. Paniker (1911-1977).In design, it seems Tantra contest divisions between opposites by teaching that everything is respected and incorporated, which includes the concept of marginal in society. For instance, Bauhaus (Germany, 20’s), Memphis (Italy, 60’s), Droog Design (Netherlands, 90’s) seem to represent it, as this is more about change in the world, via the body, rather than transcendence of it. In design Tantra can be understood as a moment of reflection on the nature of design and an occasion to continually think and get to know design, for instance, a process-oriented process. A reality that enhances scenario hypotheses, but without reaching a productive result.This ongoing research is non-interventionist and interventionist. The non-interventionist phase consists of the analysis and interpretation of concepts, contents from the past as well as visual imagery of Tantra. The interventionist phase resides on a pilot project.Thus, thinking about method in design means thinking about a phenomenological process such as interpretation. A path that is inductive like self-production, deductive like engineering, abductive intelligently linking hypotheses through experience, and also intuitive, imaginative, inventing, telling the story of material culture in another way. An alternative that needs to die and to live again, a process that, between analysis, intuition and experience, appeals to the dialectical reflection of design as an interlocutor between the individual and material culture in order to create sustainability.
{"title":"The Concept of Tantra as Meta-Design to Create Sustainability","authors":"Liliana Soares, E. Aparo","doi":"10.54941/ahfe1001422","DOIUrl":"https://doi.org/10.54941/ahfe1001422","url":null,"abstract":"This article is an ongoing research and takes Tantra (Saraswati, 1981) to present an academic project that refers to the expansion of knowledge, understanding the body of an object through as a supreme shelter link. On the one hand, the female element represents the a whole as the beginning of everything and the supreme power of creation. On the other hand, the male element is associated with transcendence.Similar to designing, from the perspective of tantrism, the union of the two energies - feminine and masculine – is crucial and for this reason, the care of the object's body is essential.Phenomenologically, as Feuerstein (2005) states the tantric point of view does not deny the world of experiences, but views positively the culture of potential intrinsic psychophysical body and mind. This thesis comprises not only time and space, but also the external factors that cross-fertilize reality and, for this reason, enter into design process. In this sense, objects’ body is full of organs, but visible only to designers, requiring guidance from a master.In art, in early 20th century, there were similarities between the abstractions of Paul Klee, Piet Mondrian or Robert Delaunay. After that, Neo Tantrism emerged in the 1960s with the indian artist K. C.S. Paniker (1911-1977).In design, it seems Tantra contest divisions between opposites by teaching that everything is respected and incorporated, which includes the concept of marginal in society. For instance, Bauhaus (Germany, 20’s), Memphis (Italy, 60’s), Droog Design (Netherlands, 90’s) seem to represent it, as this is more about change in the world, via the body, rather than transcendence of it. In design Tantra can be understood as a moment of reflection on the nature of design and an occasion to continually think and get to know design, for instance, a process-oriented process. A reality that enhances scenario hypotheses, but without reaching a productive result.This ongoing research is non-interventionist and interventionist. The non-interventionist phase consists of the analysis and interpretation of concepts, contents from the past as well as visual imagery of Tantra. The interventionist phase resides on a pilot project.Thus, thinking about method in design means thinking about a phenomenological process such as interpretation. A path that is inductive like self-production, deductive like engineering, abductive intelligently linking hypotheses through experience, and also intuitive, imaginative, inventing, telling the story of material culture in another way. An alternative that needs to die and to live again, a process that, between analysis, intuition and experience, appeals to the dialectical reflection of design as an interlocutor between the individual and material culture in order to create sustainability.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"7 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":"129404594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The New Degree in Design at the University of Navarra was launched in September 2016, and has recently completed the cycle of its first-generation students. The shaping process of this degree was intended to be flexible to forge the profile of a versatile and creative designer, a process that would lead to a new and innovative configuration of teaching methodologies based on the integration of contents and competences through projects.This article intends to explain how this Education Model works and which are its main principles, understood as the practical result of a permanent and ongoing research about ways of training designers for the needs of contemporary society. In fact, the scope of the text is to emphasize how this teaching methodology intends to help the students acquire the necessary skill set to face the hybrid challenges that the XXIst Century requests, challenges immersed in a world marked by an overwhelming technological development.In that sense, the entire system could be condensed into the intention of configuring mindsets of future designers in such a way that they are, at the same time, integrative and critical. That is, the development of integrative thinking is built through the aforementioned confluence of materials and knowledge in each project. And critical thinking is forged through numerous cultural subjects and through work on analysis of case studies and examples. From the combination of both faculties, the ability to integrate and the ability of critical thinking, the students will acquire the creative attitude that today’s society demands.Keywords: Teaching Methodology, Design Training, Creativity, Design Education, Integrative Thinking, Critical Thinking, Technology
{"title":"Integrated Pedagogy Model for Training the XXIst Century Designer","authors":"J. Antón, Victor Larripa","doi":"10.54941/ahfe1001376","DOIUrl":"https://doi.org/10.54941/ahfe1001376","url":null,"abstract":"The New Degree in Design at the University of Navarra was launched in September 2016, and has recently completed the cycle of its first-generation students. The shaping process of this degree was intended to be flexible to forge the profile of a versatile and creative designer, a process that would lead to a new and innovative configuration of teaching methodologies based on the integration of contents and competences through projects.This article intends to explain how this Education Model works and which are its main principles, understood as the practical result of a permanent and ongoing research about ways of training designers for the needs of contemporary society. In fact, the scope of the text is to emphasize how this teaching methodology intends to help the students acquire the necessary skill set to face the hybrid challenges that the XXIst Century requests, challenges immersed in a world marked by an overwhelming technological development.In that sense, the entire system could be condensed into the intention of configuring mindsets of future designers in such a way that they are, at the same time, integrative and critical. That is, the development of integrative thinking is built through the aforementioned confluence of materials and knowledge in each project. And critical thinking is forged through numerous cultural subjects and through work on analysis of case studies and examples. From the combination of both faculties, the ability to integrate and the ability of critical thinking, the students will acquire the creative attitude that today’s society demands.Keywords: Teaching Methodology, Design Training, Creativity, Design Education, Integrative Thinking, Critical Thinking, Technology","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"20 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":"114528862","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}
This is an animal design project (design thinking to meet the needs of animals) which aims to bring birds into contact with humans and - through this solution - to bring the sound and movement produced by them into our lives (whether in the countryside, whether in the urban landscape), which can be translated into joy and peace achieved by the harmony of natural wildlife in our domestic environment.Starting question Knowing that birds are elusive and fearful animals, but also can bring joy and movement to our daily lives, how can we attract them to our coexistence? Supplementary feeding can be a good solution, and there are already some versions available on the international market, especially in countries where winter is more extreme. In southern Europe, feeding birds is still not a very common practice. Depending on the type of food the birds eat in their natural habitat and, depending on the endogenous birds, there are variations in the diet, and only a test of placing food available to the birds will determine the type of food to be placed in the supplementary feeder.The "AlimentáRIO" (feeder) is a ceramic supplementary feeding stand/holder that can contain various types of food, in order to test if birds can be attracted close to your home.There are several types of bird food: nectar, seeds, worms, fruit, tallow/lard... And, for each of these types of food, there is a specific type of feeder. The "AlimentáRIO" is a versatile feeder intended to cover all types. Nectar is more suitable for birds that can pollinate during late winter and early spring, when insects are less active. For these reasons, nectar should only be placed in feeders as a food supplement in the winter and autumn.In Portugal, there are some birds that drink nectar, according to Luís Pascoal da Silva , a researcher at CIBIO-inBIO. The scientist states that there are several pollinating birds in Portugal, but the study of the contribution of these birds to pollination is scarce. Seeds - besides the traditional canary seed - can contain sunflower seeds or nuts, such as walnuts and peanuts, depending on the endogenous birds. Fruit is also sought after by some species of birds, namely apples and pears, in addition to other exotic fruits. However, in general, birds can be drawn to any type of fruit. Fat balls are usually tallow/lard balls with seeds and fruits to reinforce supplementary feeding during cold seasons. The "AlimentáRIO" is a suspended wild bird feeder that can be hung in more or less sheltered places, made with materials resistant to the elements, without the need for maintenance. However, its cleaning must be done according to the recommendations referred to in the full article. As already mentioned, the construction materials are low maintenance, and the food container and the deflecting bell jar are made with stoneware - the type of ceramics more resistant to both bumps and thermal variations. The junction of the two parts is made with a nickel-plated threaded ro
这是一个动物设计项目(满足动物需求的设计思维)，旨在将鸟类与人类接触，并通过这个解决方案，将它们发出的声音和运动带入我们的生活(无论是在乡村，还是在城市景观中)，将自然野生动物的和谐转化为快乐与和平，在我们的家庭环境中实现。知道鸟类是难以捉摸和可怕的动物，但也可以给我们的日常生活带来快乐和运动，我们如何吸引它们与我们共存?补充喂养可能是一个很好的解决方案，国际市场上已经有一些版本，特别是在冬季更极端的国家。在南欧，喂鸟仍然不是很普遍的做法。根据鸟类在其自然栖息地所吃的食物类型以及内源性鸟类的不同，饮食也会有所变化，只有对鸟类可用的食物进行放置测试，才能确定将食物放置在补充喂食器中的食物类型。“AlimentáRIO”(喂食器)是一个陶瓷辅助喂食架/支架，可以容纳各种食物，以测试是否可以吸引鸟类靠近你的家。鸟类的食物有几种:花蜜、种子、蠕虫、水果、牛油/猪油……对于每一种食物，都有特定类型的喂食器。“AlimentáRIO”是一个多功能馈线，旨在覆盖所有类型。花蜜更适合在冬末和早春授粉的鸟类，那时昆虫不太活跃。由于这些原因，花蜜只能在冬季和秋季作为食物补充放置在喂食器中。在葡萄牙，有一些鸟类喝花蜜，Luís Pascoal da Silva是CIBIO-inBIO的研究员。这位科学家说，葡萄牙有几种授粉的鸟类，但对这些鸟类对授粉的贡献的研究很少。种子-除了传统的金丝雀种子-可以包含葵花籽或坚果，如核桃和花生，这取决于内源性鸟类。水果也是一些鸟类所追求的，即苹果和梨，以及其他外来水果。然而，一般来说，鸟类可以被任何类型的水果吸引。肥球通常是带有种子和水果的牛油/猪油球，以加强寒冷季节的补充喂养。“AlimentáRIO”是一种悬挂的野生鸟类喂食器，可以悬挂在或多或少避风的地方，由耐风雨的材料制成，无需维护。然而，它的清洁必须按照全文中提到的建议进行。如前所述，建筑材料维护成本低，食物容器和偏转钟形罩是用石器制成的——这种陶瓷更能抵抗碰撞和热变化。两部分的连接处由镀镍螺纹杆制成，覆盖有铝管，所有部件都由手动螺纹连接，无需使用任何工具即可组装和拆卸，从而便于在补充进料季节结束时进行深入清洁。“AlimentáRIO”的下部有四个凹洞，可以放置食物，这样可以同时放置不同类型的食物，从而吸引不同的物种。由于它是一个由保护性和偏转的钟罩组成的喂食器，因此鸟类可以免受捕食者的直接攻击，也可以免受秋天落叶的袭击。事实上，它是一个可以用绳子挂起来的辅助喂食器，这使得老鼠和松鼠很难接近食物，因为如果这些动物碰巧设法从绳子上下来，它们还必须克服穿过钟罩(这是一个球形帽)的挑战，到达食物所在的地方。这种补充喂食器的放置测试结果令人放心，表明喂食器在相对较短的时间内(3周到1个月)就能培养出接近野生鸟类的鸟类。
{"title":"“ALImentáRIO” - Holder for the Supplementary Feeding of Wild Birds","authors":"Fernando Miguel Marques","doi":"10.54941/ahfe1001397","DOIUrl":"https://doi.org/10.54941/ahfe1001397","url":null,"abstract":"This is an animal design project (design thinking to meet the needs of animals) which aims to bring birds into contact with humans and - through this solution - to bring the sound and movement produced by them into our lives (whether in the countryside, whether in the urban landscape), which can be translated into joy and peace achieved by the harmony of natural wildlife in our domestic environment.Starting question Knowing that birds are elusive and fearful animals, but also can bring joy and movement to our daily lives, how can we attract them to our coexistence? Supplementary feeding can be a good solution, and there are already some versions available on the international market, especially in countries where winter is more extreme. In southern Europe, feeding birds is still not a very common practice. Depending on the type of food the birds eat in their natural habitat and, depending on the endogenous birds, there are variations in the diet, and only a test of placing food available to the birds will determine the type of food to be placed in the supplementary feeder.The \"AlimentáRIO\" (feeder) is a ceramic supplementary feeding stand/holder that can contain various types of food, in order to test if birds can be attracted close to your home.There are several types of bird food: nectar, seeds, worms, fruit, tallow/lard... And, for each of these types of food, there is a specific type of feeder. The \"AlimentáRIO\" is a versatile feeder intended to cover all types. Nectar is more suitable for birds that can pollinate during late winter and early spring, when insects are less active. For these reasons, nectar should only be placed in feeders as a food supplement in the winter and autumn.In Portugal, there are some birds that drink nectar, according to Luís Pascoal da Silva , a researcher at CIBIO-inBIO. The scientist states that there are several pollinating birds in Portugal, but the study of the contribution of these birds to pollination is scarce. Seeds - besides the traditional canary seed - can contain sunflower seeds or nuts, such as walnuts and peanuts, depending on the endogenous birds. Fruit is also sought after by some species of birds, namely apples and pears, in addition to other exotic fruits. However, in general, birds can be drawn to any type of fruit. Fat balls are usually tallow/lard balls with seeds and fruits to reinforce supplementary feeding during cold seasons. The \"AlimentáRIO\" is a suspended wild bird feeder that can be hung in more or less sheltered places, made with materials resistant to the elements, without the need for maintenance. However, its cleaning must be done according to the recommendations referred to in the full article. As already mentioned, the construction materials are low maintenance, and the food container and the deflecting bell jar are made with stoneware - the type of ceramics more resistant to both bumps and thermal variations. The junction of the two parts is made with a nickel-plated threaded ro","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"68 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":"128841348","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 order to explore the relationship between people and clothing products, this study addresses material culture and consumption in recent years in the face of the construction of heritage narratives related to the history of fashion design. According to the social circle of values consecration, connections between subjects and objects are fluid and the approach to the material culture and memories can be created and conduct. The history of fashion can be restricting to the materiality of objects or including the intangible elements related to this. The study is based on theoretical approaches and bibliographic review; a case study and ethnographic research on fashion exhibitions and correlated subjects; and comparative analysis including five hundred institutional exhibitions promoted in the last 50 years. This research also comprehends an exploratory study on the project Tati-Viana, which resulted in a fashion design output included in the heritage collection at the National Costume Museum (Portugal). Results showed that emotion and the relationship between people-objects through memories can be an alternative and deliberate tool for sensitizing actions to conscious consumption.
{"title":"Second Skin’s Sensitivity: Memories and Consciousness","authors":"Rafaela Norogrando","doi":"10.54941/ahfe1001367","DOIUrl":"https://doi.org/10.54941/ahfe1001367","url":null,"abstract":"In order to explore the relationship between people and clothing products, this study addresses material culture and consumption in recent years in the face of the construction of heritage narratives related to the history of fashion design. According to the social circle of values consecration, connections between subjects and objects are fluid and the approach to the material culture and memories can be created and conduct. The history of fashion can be restricting to the materiality of objects or including the intangible elements related to this. The study is based on theoretical approaches and bibliographic review; a case study and ethnographic research on fashion exhibitions and correlated subjects; and comparative analysis including five hundred institutional exhibitions promoted in the last 50 years. This research also comprehends an exploratory study on the project Tati-Viana, which resulted in a fashion design output included in the heritage collection at the National Costume Museum (Portugal). Results showed that emotion and the relationship between people-objects through memories can be an alternative and deliberate tool for sensitizing actions to conscious consumption.","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"42 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":"126304370","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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