The present study undertaken within the DesignOBS project, is based on 172 PhD theses in Design submitted to the Portuguese National Design Schools between 2005 and 2019. It focuses in particular on the extraction and analysis of 522 PhD citations appended to design doctoral work. The analysis is used to observe school impact, explore the weight of previous design-focused and non-design doctoral work to develop PhD research in Design in the country. The results reveal few connections between doctorates and few overlaps in- between as well as outside design schools thus indicating poor continuity and reproducibility of domestic doctoral work, little tradition of PhD citation, and an important weight of non-design schools. A network-based visualisation of the connections between PhDs in Design within PhD thesis, by use of a citation analysis method, enabled to draw reflections on the status of domestic doctoral research in Portugal and provides an empirical approach to explore the reproducibility of this type of research which may be used in other countries.

The DesignOBS project aims to collect, map and interpret data about the Portuguese Design Ecosystem, providing more robust and reliable information that may support the creation of strategies and policies for its promotion and evolution. To operationalize the project, a three-step Design research iterative process was put in place: (1) Development of a preliminary observation process based in particular on the analysis and comparison of Design ecosystem models in use at the European level; interviews and in-loco visits with leaders of key international Design centers and the application of the reflection-action process proposed by Schön to refine the observation approach; (2) test the observation approach through its application on a preliminary and manageable case about design doctorates to create a “first portray” of the status quo of national scholarly Design research. Results showed important disparities in the number of Design theses concluded (variations of about 25% registered in different databases), and dubious quality of information. The lack of curation of the information presented in institutional databases makes it difficult to create a reliable map about Design. These results led to the development of guidelines and calls for action which were presented and discussed within the REDE community (national Design schools meeting) in late October 2019. These results and methodology, already published in an international outlet, were evolved to understand some foundational aspects of doctoral research in Design and also the reproducibility of Portuguese research in this field of knowledge. (3) Refinement of the iterative reflexive and distributed observation approach based on the results obtained in stage 1 and 2. This process is now being used to approach other research topics such as the characterization of Design companies in Portugal using databases such as SABI that can provide some information to facilitate the creation of preliminary representations.

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.

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.