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}
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}
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}
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}
Maria De Fátima Faria Costa, E. Aparo, Liliana Soares
The paper aims to prove that a local design-oriented network strategy can be crucial in achieving territorial sustainability.The analysis of a place can be understood as an occasion to define a multicellular system so that, each one of the monocellular organisms - the companies - cooperate together and define the evolution of the system. As happens in a multicellular biological organism, in a network of companies, several cells - with different types and degrees of specialization - can create an interdependence that increases the possibility of survival.The case of Italian productive districts establishes the contribution of design to the competitiveness of companies, involving them in the organization of territorial interfaces capable of producing innovation (Bettiol, Chiaversio, Micelli, 2009). The development of a territorial business system can be an opportunity to stimulate local development, representing an opportunity to favor and encourage investments. Likewise, this is an chance to develop ways to share resources, processes, knowledge and innovation. Since the Renaissance, the Italian productive system has been articulated in networks (Aparo, 2020), sharing excellence and approaching complex projects that are solved, almost always producing innovation. The concept of network system expressed by design has been supported by authors such as Ampelio Bucci (2003), Antonio Ricciardi (2004) or Venanzio Arquilla, Giuliano Simonelli, Arianna Vignati (2005). It is an action established in several areas of the product and/or service and a decisive network system for the success of Italian Design in the world.The work developed by Design in the development of a system of territorial networks becomes essential by taking on several tasks. Maria Antonieta Sbordone (2016) analyzes them as a social function, a heterogeneous function, a business function and, finally, a connective function.The North of Portugal is mainly characterized by a panorama of small and medium-sized companies which - according to data provided by the National Institute of Statistics - in the last study carried out in 2008 on the structures of Portuguese companies, reveals that 113,747 companies were located in the North, influencing by 69.5% in the turnover of the North Region.The authors intend to demonstrate that in the North of Portugal, a business network strategy of a local character guided by Design, can be seen as a significant opportunity to define the evolution of the local economy. An action that motivates the creation of business systems to determine mutual collaboration and the development of innovation projects. Taking the Italian system as an example, the aim is to implement a business network system that, starting from localized excellence, can enhance the productive capacity of each company, improve the offer, make processes profitable and, finally, determine survival or even success. Therefore, the results of project developed in an academic context within the sc
{"title":"Worth by Northwest: A Design Strategy for Territorial Sustainability","authors":"Maria De Fátima Faria Costa, E. Aparo, Liliana Soares","doi":"10.54941/ahfe1001424","DOIUrl":"https://doi.org/10.54941/ahfe1001424","url":null,"abstract":"The paper aims to prove that a local design-oriented network strategy can be crucial in achieving territorial sustainability.The analysis of a place can be understood as an occasion to define a multicellular system so that, each one of the monocellular organisms - the companies - cooperate together and define the evolution of the system. As happens in a multicellular biological organism, in a network of companies, several cells - with different types and degrees of specialization - can create an interdependence that increases the possibility of survival.The case of Italian productive districts establishes the contribution of design to the competitiveness of companies, involving them in the organization of territorial interfaces capable of producing innovation (Bettiol, Chiaversio, Micelli, 2009). The development of a territorial business system can be an opportunity to stimulate local development, representing an opportunity to favor and encourage investments. Likewise, this is an chance to develop ways to share resources, processes, knowledge and innovation. Since the Renaissance, the Italian productive system has been articulated in networks (Aparo, 2020), sharing excellence and approaching complex projects that are solved, almost always producing innovation. The concept of network system expressed by design has been supported by authors such as Ampelio Bucci (2003), Antonio Ricciardi (2004) or Venanzio Arquilla, Giuliano Simonelli, Arianna Vignati (2005). It is an action established in several areas of the product and/or service and a decisive network system for the success of Italian Design in the world.The work developed by Design in the development of a system of territorial networks becomes essential by taking on several tasks. Maria Antonieta Sbordone (2016) analyzes them as a social function, a heterogeneous function, a business function and, finally, a connective function.The North of Portugal is mainly characterized by a panorama of small and medium-sized companies which - according to data provided by the National Institute of Statistics - in the last study carried out in 2008 on the structures of Portuguese companies, reveals that 113,747 companies were located in the North, influencing by 69.5% in the turnover of the North Region.The authors intend to demonstrate that in the North of Portugal, a business network strategy of a local character guided by Design, can be seen as a significant opportunity to define the evolution of the local economy. An action that motivates the creation of business systems to determine mutual collaboration and the development of innovation projects. Taking the Italian system as an example, the aim is to implement a business network system that, starting from localized excellence, can enhance the productive capacity of each company, improve the offer, make processes profitable and, finally, determine survival or even success. Therefore, the results of project developed in an academic context within the sc","PeriodicalId":308830,"journal":{"name":"Human Dynamics and Design for the Development of Contemporary Societies","volume":"9 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":"123862959","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}
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}
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}
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}
R. Gomes, José Manuel Silveira Dias, Marco Neves, P. Dinis
Product Service System (PSS) is a Sustainable Design strategy for developing product service-based solutions, that contribute towards the reduction of product waste, towards the generation of new forms of partnership among stakeholders, leading to innovative product service solutions and to new ways of responsible consumption.A research on PSS for domestic adaptable furniture is being carried out. Having in mind the Portuguese context, it is important to comprehend existing PSSs and identify models and opportunities for designing a Sustainable Product Service System (SPSS) for adaptable furniture within the Portuguese context. For this, the following research questions arise: What are the most common business models in Portuguese SPSSs? What are their fragilities and strengths? What factors may better contribute to a higher consumer satisfaction? To answer these questions, there were developed five case studies on ongoing significant Portuguese SPSSs, analysing three approaches for each of the cases in the sample: i) needs satisfaction, ii) stakeholders involved, iii) sustainable strategies. The case studies results enabled a wider comprehension of the existing Portuguese panorama on sharing economy Product Service Systems models, providing information for the development of a PSS domestic adaptable furniture.
{"title":"Sustainable Product Service System (SPSS) for Designing a Portuguese Furniture Service: Comprehensive Approach","authors":"R. Gomes, José Manuel Silveira Dias, Marco Neves, P. Dinis","doi":"10.54941/ahfe1001391","DOIUrl":"https://doi.org/10.54941/ahfe1001391","url":null,"abstract":"Product Service System (PSS) is a Sustainable Design strategy for developing product service-based solutions, that contribute towards the reduction of product waste, towards the generation of new forms of partnership among stakeholders, leading to innovative product service solutions and to new ways of responsible consumption.A research on PSS for domestic adaptable furniture is being carried out. Having in mind the Portuguese context, it is important to comprehend existing PSSs and identify models and opportunities for designing a Sustainable Product Service System (SPSS) for adaptable furniture within the Portuguese context. For this, the following research questions arise: What are the most common business models in Portuguese SPSSs? What are their fragilities and strengths? What factors may better contribute to a higher consumer satisfaction? To answer these questions, there were developed five case studies on ongoing significant Portuguese SPSSs, analysing three approaches for each of the cases in the sample: i) needs satisfaction, ii) stakeholders involved, iii) sustainable strategies. The case studies results enabled a wider comprehension of the existing Portuguese panorama on sharing economy Product Service Systems models, providing information for the development of a PSS domestic adaptable furniture.","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":"125883218","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：