Capa: Francisco Paiva, Catarina Moura (Orgs.) (2012) DESIGNA 2011 - Projectual hope. Communication  +  Philosophy  +  Humanities. .
DESIGNA 2011 - Projectual hope

by Francisco Paiva, Catarina Moura (Orgs.)

Collection: Ars
Year of edition: 2012
ISBN: 978-989-654-138-5
Price of the print edition: € 17   Order


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Synopsis

Annual investigation conference on Design which adopts the theme from Tomás Maldonado's classical essay The Projectual Hope, aiming to reflect about the performance of creativity in times of crisis. The event counts with a set of invited guests, together with the presentation of communications selected from a blind call for papers and destined to publication.

Presentation

The opportunity to reflect on the wide range of conceptual and operational problems placed by Design, considered as a project or as a product that accentuates the dialectics of the concrete, has been wasted. It is the conscience of this fault that generates the will to provide some systematization to the reflection, generating routines able to supply the sense of community of practice and to give visibility to this disciplinary corpus, both in itself and in its several specialized branches, from art to communication and industry.

Many of the themes discussed both by designers and culture critics and thinkers gravitate around the improvement of life conditions and of the aesthetical and economical value of the products, being them tangible or immaterial. This means the world of Design is intimately connected to society's concrete problems, although it is often taken as superfluous, mostly within the environments most resistant to the incorporation of projectual dynamics, or incapable of allocating creativity to certain ends.

The Projectual Hope (1970) came precisely to alert to the several dimensions of Design which, by their ethical, speculative and economical nature, besides the traditional technical and aesthetical dimensions, or even artistic, may place it in the joint between environment and society, where Utopia easily emerges.

In the field of Design, the phenomenological function appears connected to the semiotic one – the capacity to create joins the capacity to see -, whose dynamics influence the acquisition of analytical capacity about the interaction between the material and the human environment. In the consumption societies, Design also appears between politics and individuals, because of its intrinsic capacity of shaping desire or, in other words, of rationalizing the need and acculturate pleasure. Thus, being the government of things directly connected to the government of individuals, it's easier to understand not only the ambition of some artists to lead the “revolution” but also the appetite for power to “regulate” art.

Both in its visual and material side, nowadays Design deals with the apocalyptic forecasts resulting from the overproduction, the drain of resources and the increase of residues, worsened by the rapid obsolescence of goods, the necessary optimization of work and collateral energetic savings, incorporating the need to reach all audiences, including those less favoured. But if these problems accentuate the designer's social responsibility, they also have contributed to the development of innovation strategies capable of achieving balances and providing answers that legitimate the progressive de-materialization, the rationalization of consumption or even the established economic order. Most of the human landscape is inexorably determined by Design. Through Design, cities became objects and facts of communication, as well as products. The image of cities exposes the confrontation between signs and brand systems which arouse semiotic interpretations simultaneously able to contextualize and challenge the most common artistic ideology and will. This sort of popular art accentuated the demands of legibility and effectiveness. Being able to provoke and assault, it allows the actualization of codes and formal repertoires, increasing the complexity of communication processes.

The projectual praxis reveals that the overcoming of the stereotype elapses from the critical conscience before the designers's operational and existential field: the creation of reality. Reality which has been changing at considerable pace through the imposition of new media connected to the performative arts as much as to the production and communication media, and whose interfaces don't cease to reconfigure everyday experience.

Within this frame, this conference aims to answer two crucial questions. The first is to know if the field of Design (graphic, visual, multimedia, industrial or fashion) presents a common disciplinary or academic scope, bringing together a set of inter and transdisciplinary perspectives, allowing to continue to think Design in a broad sense. The second is to understand how may Design contribute to unblock transversal dead-locks to several fields of contemporary society, being them cultural, social or economical.

In this sense, we intend to congregate a mosaic of contributions directly derived from investigation not only in the fields of Design as well as its theory and technology, but also from aesthetics, semiotics, anthropology, sociology and culture in general. Therefore, all those interested in these matters are invited to present proposals within the following thematic panels: 1. Communication; 2. Product; 3. Theory; and 4. Fashion.

University of Beira Interior currently offers six degrees in Design, between 1st and 2nd cycles. It gathers excellent conditions to the development of reflection habits focused on their different domains. Through DESIGNA, it aims to open to the routine of mingling actors of ideas, aware that the dissemination of concepts is encouraged by collaborative and network efforts and that it very much depends on the convergence need and on the encounter of investigators in such fora.

Portugal needs Design! - Society as a whole profits directly from creative investment, and the survival of industry nowadays depends on the capacity to innovate on products and services. The formation of designers favours social well-being directly, answering to concrete problems and, indirectly, through the creation of value that reflects on the increase of competition.

Together with the scientific component, the conference DESIGNA 2011 looks precisely to raise awareness to the fact that the investment on talent may be seen as a factor of improvement on life quality and even an answer to the notorious crisis.

 

 



Index

17

QUE ESPERANÇA PROJECTUAL? Francisco Paiva

 

23

FASHION AND ENVIROMENT. A REFLECTION FOR RESPONSIBLE FASHION DESIGN

Giovanni Maria Conti

 

51

PROYECTAR CUANDO LA INCERTIDUMBRE AUMENTA

Inmaculada Jiménez Huertas

 

57

TIPOGRAFIA CURATIVA: UMA ESPERANÇA CONSTANTE NO COMBATE À ILITERACIA PELA FORÇA DO PROJECTO TIPOGRÁFICO

Jorge dos Reis

 

63

THE ROLE OF DESIGN: YESTERDAY AND TODAY

Sheila Pontis

 

 

 

COMUNICAÇÃO COMMUNICATION

 

75

OS MEDIA PARTICIPATIVOS E A IMPORTÂNCIA DO CIDADÃO E DA INSTITUIÇÃO ENQUANTO MARCAS MOBILIZADORAS NA ÁREA DA ONCOLOGIA

Nuno Duarte Martins, Heitor Alvelos,

Daniel Brandão

 

83

COMUNIDADES CRIATIVAS ONLINE: UMA ANÁLISE DAS INTERAÇÕES ENTRE OS PRODUTORES E CONSUMIDORES DE CRIAÇÕES DIGITAIS

Pedro Amado, Ana Veloso

 

91

DESIGN DE ACÇÕES CULTURAIS PARTICIPATIVAS: UM CASO DE ESTUDO NO CENTRO HISTÓRICO DA CIDADE DO PORTO

Daniel Brandão, Heitor Alvelos,

Nuno Duarte Martins

 

97

DESIGN IN THE MAKING:

UM NOVO OLHAR SOBRE A PRÁTICA EM DESIGN DE COMUNICAÇÃO

Leonel dos Reis Brites

 

103

OS PROCESSOS DE SIGNIFICAÇÃO DO LIVRO NUM CONTEXTO

DE SIGNIFICAÇÃO HÍBRIDA

Ana Catarina Silva

 

113

CONTRIBUTO PARA UM MUSEU DO WEB DESIGN PORTUGUÊS: PRESERVAR

O PROJECTO E O OBJECTO IMATERIAL Sandra Antunes, Vasco Branco

 

119

O IMPACTO COMUNICATIVO DA MARCA: APRESENTAÇÃO DE UMA METODOLOGIA DE AVALIAÇÃO DA MARCA

Álvaro Sousa

 

 

 

MODA FASHION

 

127

DESFILE DE MODA, ESPECTÁCULO DE ARTE E DESIGN

Ana Luiza Olivete

 

133

TAILORING A FUTURE IN WHICH CLOTHES GROW FROM BACTERIA

Isabel C. Gouveia, Marta A. Ferraz

 

141

VESTUÁRIO INTELIGENTE

E TECNOLÓGICO EM PORTUGAL: ANÁLISE DAS NECESSIDADES DO MERCADO PORTUGUÊS

Gianni Montagna, Hélder Carvalho, Cristina Carvalho

 

151

O CORPORATIVEWEAR COMO PROPOSTA DE VALORIZAÇÃO DOS RESÍDUOS TÊXTEIS ENQUANTO AGENTE DE REDESIGN DE UMA MARCA DE VESTUÁRIO STREET-WEAR

Carla Morais, Cristina Carvalho,

Cristina Broega

 

159

A INDÚSTRIA CRIATIVA DA MODA E O DESIGN PORTUGUÊS

Alexandra Cabral

 

169

CULTURA DE MODA, IDENTIDADES E ENVELHECIMENTOS DO CORPO REVESTIDO

Geni Pereira dos Santos

 

175

VESTUÁRIO INTELIGENTE COMO UMA EXTENSÃO ESTÉTICA E FUNCIONAL DO CORPO

Isabel Trindade, Madalena Pereira,

José Lucas, Manuel Santos Silva, Rui Miguel

 

181

VALOR PERCEBIDO PELO CONSUMIDOR E ATRIBUTOS PARA PROJETAR O VISUAL MERCHANDISING DE MARCAS DE MODA PARA E-COMMERCE

Paulo Martins, Madalena Pereira,

Susana Azevedo, Rui Miguel

 

 

 

PRODUTO PRODUCT

 

191

PERSPECTIVAS DE INTEGRAÇÃO NO MERCADO DE TRABALHO DOS DESIGNERS INDUSTRIAIS

Inalda Araci L. L. M. Rodrigues, Denis A. Coelho

 

207

SHARP:

COLABORAÇÃO E DESENVOLVIMENTO PARAMETRIZÁVEL DE TYPE DESIGN Pedro Amado, Ana Veloso

 

219

CONTRIBUTOS PARA O ESTUDO DA FORMA: DESENVOLVIMENTO DE UM MODELO COMPUTACIONAL APLICADO À CADEIRA

Sara Garcia, Luis Romão

 

227

O MÉTODO DA BIÓNICA NUM PROJECTO DE DESIGN TÉCNICO

Stefan Rosendahl, Alcina Pato

Vasile Ros, Marta Gonçalves

 

235

NOVO NORMAL Afonso Borges

 

241

DESIGN AUTOMÓVEL PORTUGUÊS: UTOPIA OU SOLUÇÃO?

Paulo Dinis, Fernando Moreira da Silva

 

247

O DESIGN DE OURIVESARIA E JOALHARIA EM PORTUGAL NO SÉCULO XXI

Cláudia Teixeira

 

255

NOVOS TERRITÓRIOS DO DESIGN DO PRODUTO

Ricardo Filipe Duarte Cabral, Liliana Soares Ermanno Aparo

 

 

 

TEORIA THEORY

 

267

DESIGN E PENSAMENTO LATERAL NO ENSINO, PARA O ESTÍMULO DA CRIATIVIDADE

Liliana Reis de Jesus, Florbela Espanca Rosa Maria Oliveira, Isabel Amorim

 

281

A ALMA DOS OBJECTOS Manuel Albino, Cláudio Ferreira, Paulo Simões

 

291

THE FINE ARTS, AN IMPORTANT CONTRIBUTUION FOR THE DESIGN STUDIES

Theresa Beco de Lobo

 

301

LA HISTORIA DEL DISEÑO Y LA ÉTICA DE LA PROFESIÓN: HERRAMIENTAS PARA LA ESPERANZA PROYECTUAL

Antoni Mañach Moreno

 

317

 

A CAMPANHA DO BOM GOSTO OU ANÁLISE DE UMA TENTATIVA DE DOUTRINA ESTÉTICA NUM PAÍS AUTORITÁRIO

Carlos Bártolo

 

323

OBJECTOS DE INFORMAÇÃO. NOTAS PARA UMA DISCUSSÃO FENOMENOLÓGICA DO DESIGN DE COMUNICAÇÃO

Sara Velez

 

329

O DESAFIO DO DESIGN Pedro Cortesão Monteiro

 

 

 

POSTERS

 

337

A INDÚSTRIA JOALHEIRA EM PORTUGAL: DESIGN DO LUXO

Susana Rodrigues

 

341

A FIGURA DO BRICOLEUR E O DESIGN. A COMPOSIÇÃO DE CORPUS NA FRATURA DAS INTERFACES

Maria José Barbosa, Pedro Lopes Almeida

 

345

FAST-FASHION:O ENCURTAMENTO DO CICLO DE VIDA DE PRODUTOS DE MODA

Carolina Carpinelli Caetano,

Maria Silvia Barros de Held,

Ana Julia Melo Almeida

 

351

THE BODY AS A CULT OF FASHION

Catarina Isabel Duarte Soares,

Maria da Graça Guedes

 

355

O NOVO LUXO

Ana Meira, Nuno Sá Leal

 

359

OBJECTO/ESPAÇO E TECNOLOGIA: DO CONCRETO PARA O ABSTRACTO

Júlio Londrim de Sousa Cruz Baptista

 

365

TRANSFORMER - ESPAÇO, TEMPO, LUZ

E COR - DUALISMO ENTRE ARQUITECTURA E DESIGN: O DISCURSO

DA MUTABILIDADE DO EFÉMERO

Raquel Filipa Ferraz Nunes

 

371

INTERFACES DE MODA TECNOLÓGICA: UM CAMINHO PARA A COMUNICAÇÃO INTERPESSOAL NO ESPAÇO REAL

Sílvia Soares, Madalena Pereira

 

375

DESIGN AND HANDCRAFT: EXPERIENCES OF A STUDY

Ângela Sá Ferreira, Maria Manuela Neves Cristina S. Rodrigues

 

377

PROJECÇÃO, ACÇÃO E CONCRETIZAÇÃO NÃO SÃO SINÓNIMOS

Bruno Urbano

 

Support:
Fundação para a Ciência e a Tecnologia
União Europeia
Quadro de Referência Estratégico Nacional
Programa Operacional Factores de Competitividade
Universidade da Beira Interior