Perspective on Design

Over the past decades, we have gained more design literacy in both the educational landscape and in the professional field. As a consequence, more and more actors have become involved in design and amongst them many non-designers. While in business this change has brought up a number of new role models in design, in education instead many programmes such as “Design Thinking”, “Design Management”, “Strategic Design” or “Design Engineering” emerged at schools of management, departments of computer sciences or engineering schools. This change has led to a situation where educating designers it not limited to design schools and designing is a profession not exclusively limited to designers anymore. Within this wide range of actors, it becomes hard to understand who is able to lead the design conversation across different sectors and accordingly who is willing and able to train these leaders. This chapter gives an insight into the development of our new MA curriculum in Design. The main objective of this curriculum is stepping out of the mental model of designers as problem-solvers or authors and shifting the attention towards problem identification and design leadership. As part of the research done during the development of our curriculum a new model, called the Y-shaped-Designer has emerged. The model questions discipline-based learning by complementing the professional profile of designers with what we call “connective competences”—competences that enable designers to transition in a collaborative mode and lead design processes across different professional sectors. The new mental model and professional profile of our future graduates required a series of didactical changes along the curriculum. These changes will be laid out in this chapter by illustrating a couple of didactical best practices that aim at fostering collaboration and collective learning. As a conclusion two concepts emerge as key to how design schools could take back the lead in design education: the fundamental shift from authorship towards leadership in design and the ability to connect and collaborate beyond the design domain.

Nowadays, factors such as the accelerated cultural dematerialization, the unprecedented participatory culture, and a new kind of social values have become crucial for understanding the human experience. This scenario implies an inevitable revision of design, and its educational approaches so it is adaptable to new circumstances. The relevance of this study lies in the critical approach used to review the current design models, and the discrepancy that has been observed between research processes and practices, and the effective practice and application of design. We will thus be discussing the (underdeveloped) competences and skills of today’s designers, namely relating to the participatory approach and the decentralization of their role. These latter concepts are of fundamental importance to reflect on the articulation with the immaterial and relational culture of current days. We argue that what is new in the concept of design is its understanding as a process. It should thus be considered a means to achieve an end, and not an end in itself. As Dunne (2008) states, the design has the potential of being ‘a tool of doing’. Therefore, design is seen by the latest research within the field as a means to drive flexible solutions, to produce continuous adaptations in order to contribute to a constantly changing context. In this book chapter, we will thus underline that the education of the future designer should (i) incorporate an articulated understanding of the problems, which are considered within a system or web of relationships, and (ii) promote the development of competences and skills that are essential to manage a consciously decentralized role by using open and flexible methodologies applied to different actors.

This chapter compiles some key thoughts from my 25-year experience in leading a graphic design company. The chapter was developed with the intention of building a reflective writing process, and specifically to consider how my education and training background shaped my practice, and how my professional experience can be used in a transformative way, back again, in education. I summarize the key lessons I gathered, and articulate them with some relevant points from the speech of António Guterres, the United Nations Secretary General, at the award ceremony of his Honoris Causa degree at the University of Lisbon. Guterres’s reflection about the role of his own college education helped transform small design issues into a broader picture about the superiority of academic studies.

People are more demanding about the opportunities offered by the globalized market. There is a wide variety of products and services that border exclusivity and that, due to the advancement of technology, are now within the reach of many. To meet this voracious audience, a new profile of professionals with differentiated backgrounds is emerging. The purpose of this theoric chapter is to bring transdisciplinarity as a scientific and cultural approach presented as an alternative and as a methodological and epistemological suggestion for transdisciplinary practice in the daily life of the designer. We emphasize that the solution of the itinerant chair, transdisciplinary coaching or the consolidation of a transdisciplinary design curriculum for technical, ethically responsible and environmentally conscious high standards are valid alternatives to the designer’s educational model. In order to incorporate the transdisciplinary nexus into the daily routine of design, one needs attitude, research and transdisciplinary actions in a continuous way.

The present article focuses a exploratory qualitative research on the development of a learning experience on the issue of climate change; developed on the United Nations Sustainable Development Goals—in specific the Sustainable development goal 13—“Take urgent action to combat climate change and its Impacts.” The project developed under the course unit of Information Design 4d aimed to develop a perspective on climate change that could trigger a greater emotional affectation on climate change among potential consumers. The project, included an LSP (Lego Serious Play) methodology. Students used a strategy to make perceptions of the problem tangible in order to develop a perspective according to the importance and priorities of the so-called reptilian brain, in reference to Paul D. MacLean’s triune model following the interpretation by Clotaire Rapaille. From the learning experience carried out with the LSP strategy, in the discovery session, students identified Nature as a commodity and from this perspective formed interesting possibilities in the development of Speculative Design solutions that reinforce the assumption of Timothy Morton concept of artificiality. The learning experience was carried out within the Master of Graphic Design, Association Master between the School of Applied Arts of the Polytechnic Institute of Castelo Branco and the Faculty of Architecture of the University of Lisbon, 2nd semester of the academic year of 2018/19.

This chapter will present a first phase of a contextual study, which will initially focus on a systematic study of internationally produced thinking about the most pertinent contours, challenges, methods and results of design research. This study will make it possible to establish a reference framework, both for the collection and classification of data related to the Portuguese reality and for its subsequent analysis. Design research has a recognized trajectory, but the discourse built so far is not visible to the academic community. Researchers, creators, and theorists began documenting design when it was recognized as something that could be taught. Despite the isolated attempts of theoretical depth by some researchers, the degree of relevance between research and the different areas of design has been quite diverse, such as engineering, architecture and product design, still touching on territories such as arts and crafts. To summarize the available information on the evolution of research in the area of Design and the problematization that the international scientific community has generated around the establishment of its outlines and methods, namely on practice-based research, it will serve as a contribution to the clarification of aspects that are very relevant to a rapidly expanding area.

The article shows how assessments of graphic design can be made more reliable when graphic design is approached as a visual argument. Each designed object makes a claim that it is improving a situation thereby implicitly stating that a current situation was not satisfactory. This article uses two warning pictograms as examples to show how visual information can be assessed. The pictograms warn against the risks of taking medicines while pregnant, and the potential affect of medicines on driving cars. These pictograms claim that they warn effectively about possible unwanted effects of a medicine. Toulmin’s diagram describes the relation between a claim and its supporting evidence and reasons. An application of this diagram to both pictograms shows that just assessing the claim is not sufficient, and that it is necessary to question the available evidence and reasons too. At least six different fields provides rules and principles that can be used to assess the evidence and reasons. Designers, clients, legislation and standards, professional peers, people/patients, and society can all legitimately assess the design of pictograms. One of the major challenges for graphic design is to find relevant evidence and reasons, and to consider these in such a way that a balance between the different fields is achieved.

The experience with space is achieved through projects developed according to a design perspective. In addition to collaborating on the creation of spatial narratives by promoting the experience, the design also acts in the sense of enhancing accessibility in both the physical and cognitive domain. Wayfinding systems as well as informational technological systems are informative elements that communicate with citizens, fostering experiences of greater accessibility and the creation of social space. This paper discusses the concept of space from its social dimension, questioning on how spatial narratives, places, and paths can create individual or collective experiences within urban space through Communication Design by the use of technology.

All objects, forms and patrimonial elements of cities are repositories of graphic memory and history, which account for values and meanings of cultural identity of a territory to its inhabitants and to its visitors. By review of the main literature and a case studies method, we characterize significant aspects of heritage buildings which present by visual means, unnoticed information by most observers. This is a descriptive and explanatory report, to verify common aspects. Design can take advantage of this and use such visual elements to add value to contemplated objects and to cultural interaction that emerges from them. Graphic design is presented as a strategic tool which contributes to communication of these visual manifestations which, in turn, constitutes material cultural heritage of a place. Therefore, this paper approaches cultural heritage of a territory, as treated from the perspective of strategic design and graphic design. Design acts both as an intermediate and interpreter that gives meaning to information, so it can be transmitted to citizens.

The present article intends to articulate the subject of Branding and brand language synthesis contributing to a cross-cultural analysis in the areas of Branding, Graphic Design and Fashion. The perspectives approached here attribute a multidisciplinary method for the advantageous outcome of insights benefiting a more effective brand management. The articulation of the matters sought the comprehension of the current panorama of fashion brands in the tailoring section, with metaphorical names, in Lisbon, as well as its visual patterns. On the context of the analysis undertaken on this research, the model for the representation of visual identity systems (Oliveira 2015) occupied a centre spot on the concept of diagrams expressing the visual languages of brands here studied, contributing to a bigger understanding of the subjects here referred. For the development of this research, a qualitative methodology was utilized, which based itself on case studies complemented by a deep literary revision intertwined between the subjects. It allowed the conclusion of the importance of the brand language synthesis on the process of brand language analysis and cultural expression of their DNAs. On visual trends, it is concluded that there are similarities in structure and ways of communication between the brands.

This chapter results from a research on place branding, within the scope of the Doctoral Program in Design of the School of Architecture of the University of Lisbon, referring to partial results of the research, specifically on contracting models of designers responsible for the design of place branding brands. Therefore, cases are analyzed from the hiring modality and points are presented for hiring improvements. The methodology is qualitative and descriptive, based on the literature review. The chapter assumes that among the determining factors for the success of a brand branding design is the hiring modality. Direct or indirect, open or restricted, they are aspects little considered when defining the demand for a place branding. One observes the importance of a modus operandi of who does and how does the contracting to minimize the failures. As a result, it was observed that the briefing should be associated with other tools for a better understanding of the territory, as well as a parametric analysis of existing brands to avoid plagiarism or similarity. The singularities of the place should be considered to give it authenticity, effectiveness and sustainability. On the other hand, the result of the design of the brand passes through a rigorous research on the territory, its image and its identity that determined the (re) positioning of the place.

Nowadays, digital social networks represent a new way of being connected. These powerful tools widely present in our lives are a form of communication, information and social experience transversal to several areas of knowledge. What transposes to the outside of the virtual network for “real life”, are also business models that represent challenges for new forms of communication of the brands, highly based on the relation between the brand and the interested parts. With a strong focus on people and their individual choices. Based on an exploratory analysis of a brand of children’s clothing created online and a subsequent questionnaire survey of brands from the same sector of the Iberian market, this study made it possible to clarify the steps for the proper creation of a brand based on online experience. Allowing us to understand how the behavior of people in social networks allows and also values the emergence of business forms directed to defined groups and highly personalized preferences.

Print design is defined by a relationship with technologies that promote static existence of objects. This characterization is usually opposed to interactive possibilities and modification by users. Given its practical nature, the presence of interaction in print design benefits from practice-based methods. To establish a systematic presence of interaction in print design media, we developed a specific method, based on features of design practice. There was an initial planning phase for conception and enhancement of ideas and selection and definition of objects to further improve. We than created models and prototypes and from these, we undertook a design project where we included interaction features in a controlled way to test their application in print production. The method presents a contribution for the inclusion of interaction in print design, modifying objects and their relationship with people.

This paper aims to demonstrate the importance that digital media can have in the support to the process of pregnancy, namely in the contribution for a more informed relationship between the pregnant woman and the healthcare professional. This research consists of the development of a mobile application of pre-natal care with the support of the Health Local Unit of Alto Minho (ULSAM), where the app is being studied in a joint work with doctors and patients. With the development of our mobile application the aim is to create a more effective and secure pre-natal care that contributes to an improvement of the levels of transparency and effectiveness in health care services. In recent years, there are several computer systems that have been developed and implemented in the health area in Portugal. Portugal is first in the digital ranking of Health, having been distinguished by the European Observatory of Health Systems as an example of good practices. The development of digital platforms is a strong investment of the National Health System (NHS) for the improvement of the quality of its services (Ministério da Saúde (SNS) in Retrato da Saúde, Portugal, Lisboa, 2018). This paper begins with a contextualization of this problem; a presentation of a critical analysis about the main digital platforms existent in the market; and the proposal of the application under development.

According to Teixeira (A Representação Emocional da Personagem Virtual no Contexto da Animação Digital: do Cinema de Animação aos Jogos Digitais. University of Minho, 2013), in the animation field and regarding an animated character, there are seven non-verbal dimensional layers with communicative value. In this sense, a concise relationship between all layers is crucial to allow an unequivocal communication process between the character and the viewer. In this chapter we will be analyzing character design and two other related layers: facial and body expression. Previous studies have shown the significance of non-verbal expression in communication—which is the case—and audiovisual companies are focused on implementing universal symbols, to minimize ambiguity. So in that sense, this study consists on analyzing a paradigmatic example, which is ‘Inside Out’ by Disney/Pixar partnership, and specifically its main characters—Fear, Anger, Sadness, Joy and Disgust—,which are direct references to primary universal emotions.

For humans, cognition is the processing or interpretation produced by the brain of all information captured by the five senses, based on different capacities, such as perception, imagination, reasoning or memory, and the transformation of that interpretation into fundamental knowledge for our own way of being. However, most of our reactions are still unknown, such as those concerning chromatic cognition. Recent research has been able to identify areas of the brain that are activated during the phenomenon of chromatic cognition, just as we begin to be able to measure human behavior with regard to color issues. The visible brain consists of multiple functionally specialized areas that receive their input largely from two areas of the brain known as V1 and the area around it known as V2. Through these areas the Human Being perceives the Color and these, in turn, can be more or less stimulated when we see different colors. This document presents some results of a quasi-experiment methodology still in development, using the Virtual Reality (VR), trying to verify the human brain reactions, mainly the chromatic cognition, to the different dimensions of the colors. In an earlier phase, in addition to the literature review, other methods were used, such as survey research and direct observation. It is intended to compare the results obtained with the use of these methodologies with those of the quasi-experience. This book chapter focuses on the acquisition of scientific knowledge in the area of chromatic cognition. As future results of this research, we intend to achieve a systematization of scientific knowledge reusable by all within the scope of Color/User interaction and chromatic cognition; and produce guidelines to serve as a projective tool for designers to use and apply color in design projects, as well as a reference to the use of Color for general users.

As the designer has to conceive and develop solutions for specific problems of different nature, sketches may present themselves as an operative support for conceptual reflection, problem solving and critical analyses within the several phases of the design process. Once, hand drawing and sketching ruled design curricula, because there simply was no alternative. The introduction of CAD, image editing, on-line search engines and other new technology advances have irrevocably changed the way we perceive and map the world around us. As a result, the status and value of hand-drawing has changed and it is important to reflect upon the functions, the teaching and the evaluation of the tools we use to express design. One of the main questions we would like to find answers is if the nowadays wide use of new technologies doesn’t invalidate the important role played by hand-drawing as a stimulating instrument when sketching the first ideas and as a critical verification of the several solution hypotheses. Sketching survival facing the artificial intelligence growing importance is this research main issue. Through the study of several statements from various authors we intend to investigate not only the permanence of the sketching important role since mid-last century to present, but also its possible use in the future. From this theoretical approach we also intend to verify the relevance of hand-drawing teaching in the formation of the future designers, despite the paradigm changes that emerge from the new technologies advances.

This paper aims to contribute to the discussion in design teaching and its consequent research context, considering participatory practices and methodologies. In the context of curricular units related to design and teaching experience, the problematic question arises: in the teaching of graphic design, what methodologies and instruments can we apply that associate semantics with visual thinking? This problem led to the need to better-evaluate the methodological instruments currently used and to perceive the feasibility of readapting them in order to overcome the difficulties experienced. Based on the traditional concept map, we create a graphic-semantic expressions map that intends to make the relationship between the various evaluable elements more understandable.

The occurrence of phenomena characterized by ‘actuality’ is ceaseless, they are produced with trajectories that often escape the attempt to trace a general sense, even the identification of the characters that bring them together, the dynamics that pervades all activities and determines the capacity of absorption remain unknown. The essay reflects on the contemporary scenery of the activities aimed at the production of goods that are based on assumptions oriented to processes of diffused aestheticization of dailylife. It deals with production of tangible and intangible goods at the center of phenomena that cause aesthetic inflation favored by the current economic model that imposes an unquestionable change of paradigm; from a type of strong industrial capitalism to an aesthetic and emotional one define artist (Lipovetsky and Serroy in L’esthétisation due monde. Vivre à l’âge due capitalisme artiste. Editions Gallimard, Paris, 2013). It’s a paradoxical combination of the product from the double opposing nature that is played between the industrial production of mass consumption and the goods that communicates with the market, to adhere perfectly to the aesthetic-emotional needs of every consumer/user.

The potential of trends management is originated in the ability to understand the changes in human behavior and to translate this knowledge in guidelines that can bring innovation. The qualitative approach considers the society composed of individuals and groups, who share meanings according to collective expectations and perspectives. Based on these precepts, the researcher in the field of trends investigates processes, facts and situations in the social scene that, interconnected, may explain the analyzed phenomenon. Through literature review and theoretical problematization, the concepts and approaches referenced in qualitative research and trends management are discussed, evidencing the methodology and guiding assumptions of transformations in the patterns of human behavior.

One of the challenges for fashion designers is the development of successful collections. They must be consistent with needs like brand values and innovation. The experience of working in the garment industry, allied to the practice of teaching in design institutions, allowed the creation of a Method to Create Fashion Collections. For its development, we studied different methodologies from design and other areas with the aim of analyzing and organizing them in specific stages. The method presented in this study could be used as a tool for professionals, teachers, and students to encourage a global vision in the planning of collections. Divided into 6 Steps this Method comprises: Collecting Information—Brand and Market; Choosing Innovation Guidelines; Creating the Consumers Profiles; Inspire to Create; Developing the Collection—Results and Processes; Analyzing and Improving—Short, Medium and Long Term. Therefore, it works as an open tool for better application in view of the needs perceived by the professional of the area, so it can be adapted according to each case study. Its purpose is to allow a global view of a diversity of parameters so that they are applied into goods or services.

Design teaching, as design thinking involves a heuristic methodology of creative imagination and functionalism that seeks to address unique circumstances with factual and appropriate formulations. In the learning process, design thinking cultivates the necessary cultivation of memory through experiences and instructional encounters that yield behavioral and functional impact. In a workshop model, effective design involves the simulation of the assemblage of useful and advanced media content and other instructional technology that leads to the optimal attainment of learning and noticeable behavioral impact. With Nisa quartz inlaid pottery research project in mind, the design approach can be implemented in the precise understanding of the historical and socio-economic circumstances prevailing in the project locality, and the impetus for change that solicits project appraisal. The grand approach has to be adapted to the prevailing local conditions while also recognizing that the way forward for the community has to be a difficult path that leads to better outcomes.

The paper aims at demonstrate the adaptive value of the digital crafts, regarding design and realization methods. In order to achieve some outcomes from a practical approach, some experiments are described. The discussion focuses on the relationship between the parametric tools supporting the design process (devoted to textile design and colour theory) and the aesthetical and technical outcomes. The typical way in which the craftsman “makes”—based on the informal transfer of models to production—shares the adaptive and repeatable approach of the parametric design. Therefore, through the specifications of the materials, the techniques and the realization tools, the seamless process is achieved.

In this project, we had started with the experimentation around housing typologies inspired by nature, by its asymmetric but at the same time modular shapes and its capacity to metamorphose. The purpose was not the construction itself but the transposition of this process to jewellery practice would imply the materialization of these spatial concepts. We had explored the movement of undulating surfaces, the relation between shadow and light, scale variations, the opposition between empty and full spaces, chromatic or texture contrast. A jewel can convey different appropriations and emotions such as a habitat, poetic and intangible space regardless of the economic value of its constructive solutions. Jewellery can be an extension of our selves just like interior design and that’s the reason why we produce unique pieces or limited series. This article focuses on the methodology and results of our research underlying the creation of a contemporary jewellery line, focusing its main principles: spatiality, mutability and versatility. Sketches and cardboard models were intersected with 3D software and 3D printing without forgetting traditional jewellery skills. Another complementary approach was the assemblage technique applied to the most recent pieces.

Most of the time, when it comes to furniture developed until the early 20th century, furniture is referred to as a piece of Decorative Arts. However, when furniture is produced industrially it is already considered an object of Design. This division between furniture as a Decorative Art or as a work of Design is little discussed, although some manuals on history of design already cover periods prior to industrial production, putting that furniture and the one that is considered Design together in the same definition. A piece of furniture is constituted by several components that are organized in a system. That system can be analyzed on several domains, such as constructive, formal, functional, socio cultural, economic, semantic and symbolic. In one or more of these domains we can find a decorative art, but not in the piece of furniture as a whole. This study results from the observation of different pieces of furniture from different periods. Each piece of furniture is studied in its different domains allowing an intrinsic synthesis. Using this method of studying the piece of furniture we intend to question if furniture should be seen as a Decorative Art object or as a Design object.

Towards the end of last millennium, cultural and technological development allowed humanity to severely alter the way we live, the objects of everyday life and how they were made and used. The advent of industrial production made it possible, for it contributed the rise of the Design professional, responsible for the ideation and project of products, filling the recently created gap between intent and machine production. For decades the seeds of post-industrial design have been identified by researchers, their bloom is now shown evident by growing number of people that try to avoid industrial goods. This has made the non-industrial market to become multimillionaire, attracting an increasing number of people to make products. Craftsmanship holds the roots of cultural variation and carries a long tradition of using sustainable materials and processes, values with increasing acknowledgement by the market. Recent events will be reviewed, which show that the present state of affairs combines both increasing market opportunities and communicational abilities for designers to develop products for non-industrial means of production. This study concludes that within this perspective, designers and craftspeople collaborations have an option to successfully develop sustainable products, while contributing for a more thoughtful and sustainable world.

This text intends to contribute to Portuguese Interior Design History based upon the documental study of Arquitectura Magazine (1927–1988). This Magazine was, at the time, in Portugal, a way to spread the work and knowledge developed in architecture and interior design, which, despite controversies in social, cultural and political matters, managed to remain outside the dictatorial ideology. The focus of this article is to discuss the decade of 1950s which represents for Portuguese Architecture, namely regarding Interiors, a period of searching for a Portuguese Modernism in critical dialogue with the achievements abroad. The principles of International Style, the influent writings of Le Corbusier and others, international exhibitions (as the 8th Triennial in Milan under the theme The House), numerous architectural projects were presented and discussed in Arquitectura. Throughout the interpretation of the 2nd and 3rd series focused in de decade of the 1950s and the analysis of three paradigmatic case studies it is aimed to illustrate the evolution of the architectural interest to design single-family houses interiors as a privileged realm of defining the contours of a modern Portuguese domesticity.

Contemporary life is bred of complexity. Technological advancements have revolutionized the automotive sector in general, and driving in particular, to the point where the market has become confusing. When we approach “Interior Automotive Design”, it must be borne in mind that design is intended to create pleasant, meaningful and relevant experiences for its users. Today, people discuss level 5 disruptive technology, commonly sharing utopian and dystopian visions about the future of the automobile. This chapter presents a user-centred analysis that assesses driving as a pleasurable activity. Creating personalized and exclusive driving experiences in the same vehicle for a variety of use cases is one of the future challenges of the automotive industry. In this chapter, we review the literature on the main difficulties and expectations of usability of the car interior by many drivers, with a special focus on the display interfaces. We reflect on opportunities for improvement and future developments in the interior of automobiles. Such developments go beyond the expected benefits of new technologies, which in some cases should be considered with caution.