Costa, N., Branco, V., Costa, R., Borges, A., Modesto, A., Silva, A., & Cunca, R.
The DesignOBS project was created to collect, map and interpret data about the Portuguese Design Ecosystem, providing supportive information for decision making. This study takes advantage of a participative Design perspective to define and test an observation process via a case based on Design doctorates undertaken in Portugal. It emphasises the need for additional participatory analysis and curation by experts to evaluate and develop more reliable information about the discipline. Moreover, it develops recommendations that can enhance the communicability of Design doctorates.
This study intends to test and confirm the interest and viability of incorporating augmented reality (AR) technologies in cultural mediation driven by information design, focusing on narrative representation. It is specifically intended to explore semantic relations between reality and virtuality in augmented narratives, i.e. expanded narratives through the multimodality enhanced by the use of interactive processes based in augmented reality systems.
The study presented takes place in the context of a Design PhD, under the subject of Augmented narrative: contributions of digital technologies for information design. This paper reflects the design of a strategy to address, from the perspective of information design, the data collected and corresponding interpretations performed within the scope of the project designobs.pt – Towards a Portuguese Design Observatory: Models, Instruments, Representation and Strategies.
In Das gewöhnliches, Bazon Brock features vulgar objects, inexpensive things used in our everyday lives. Such as Pompey’s artifacts were pivotal to understand life after a historical loss, so do normal objects, our tangible legacy, and our connection with them may very well be what defines our humanity. They not only represent but are also as much cause as they are the consequence of the way we live, contributing to the definition of that lifestyle and thus becoming essential in enhancing social values. Every object has a meaning beyond its materiality, and the shape envisioned by its project promotes a reflection about the way we subsist, depends on our habits, suggests how we can live both individually and collectively, and encompasses a political vision or a rejection of the social organization. Design’s participation in social construction becomes particularly acute in a time that so easily displays the erosion of ethical values, escalatingthedevaluation of truth,theinstitutionalizationof hate speech, and the increasing assemblage of walls. Although history may not repeat itself exactly in the same manner, the warnings should not be ignored, and Design must not withdraw from action. The role of Design in this crossroad becomes particularly emphasized in association with concepts such as memory. If Design’s tolerance is not questioned when considering the respect for culture, the defense of collective knowledge by designers, the familiarity with products with which we have lived throughout generations, it may also become permeable because of that retrospective. Memory seems to entail an inevitable sense of place. When our projects envision evolution but remain a reference to what we know, reminding us of our ancestors’ homes through recognition and emotional value, those objects will inevitably distinguish themselves from others. It is necessary to protect that memory, but the homage to what is local and national is precisely what may become the source of the rhetorical foundation which helps to sustain nationalist discourses. Therefore, the distinction between the notion of memory within Design and ideas such as nostalgia and selective memory becomes imperative, since those are the concepts which may truly feed intolerance. Nevertheless, it is also crucial to demonstrate Design’s intercultural nature, its openness, as well as its contribution to the obliteration of borders and to the absence of possible conflicts between an international perspective and the (conscious or unconscious) resource to the past and to our shared inherited knowledge.
A look at the international reference courses in the field of industrial design seems to reveal a significant concentration in developed regions with a high industrial and solid creative development, most usually in large cities, invigorated by a thriving business and supported in a dynamic cultural scene. This starting point implies the question of whether this context is mandatory or decisive to the existence of healthy higher education in industrial design. This article seeks to present, explain and analyze an industrial design university program in a peripheral, non-industrial region, with a fragile economy and an aged population, trying to debate scientific, pedagogical and university extension features, namely community relations, course strategy, so this program can provide quality learning for future industrial designers in the global context. This paper aims to question, discuss and help answer these doubts, using as a case study the 1st and 2nd cycle courses in industrial design, promoted at the University of Beira Interior, located in Covilhã, in the inland of Portugal. The characteristics of these courses will be presented and discussed, seeking to demonstrate how a clear definition of a strategy has become essential for the success of design education in peripheral regions.
National project that looks at design as a factor of innovation as well as cultural and socioeconomic development. The project collects and interprets data from the Portuguese Design ecosystem to promote its knowledge and to influence public policies.
2021 Observatório de Design. Towards a Design Observatory: models, instruments, representations and strategies. Supported by Lisbon Regional Operational Programme (Lisboa 2020) and the Competitiveness and Internationalisation Operational Programme (POCI-01-0145-FEDER-032445), under the PORTUGAL 2020 Partnership Agreement, through the European Regional Development Fund (ERDF) and FCT – Foundation for Science and Technology.
ID+ Campus de Santiago Universidade de Aveiro 3810-193 Aveiro Portugal