Design Beyond Borders and Rhizomes Affiliated Conference

CONFERENCE PROCEEDINGS

SENSES & SENSIBILITY THE 9TH INTERNACIONAL CONFEFENCE - DESIGN BEYOND BORDERS AND RHIZOMES AFFILIATED CONFERENCE -

Senses & Sensibility: Design Beyond Borders and its affiliated conference Rhizomes

Editors Emília Duarte Susana Gonzaga Ana Nolasco

Title: Senses & Sensibility’17: Design Beyond Borders and Rhizomes Collection: Proceedings book of UNIDCOM/IADE Conferences First Published: October 2017 ISBN: 978-989-8473-23-3

Proceedings of the 9th International Conference, Senses & Sensibility Design Beyond Borders and Rhizomes 24-27 October 2017, Funchal, Madeira Island, Portugal

http://senses2017.unidcom-iade.pt/

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017

COMMITTEES

Scientific committee

Agnese Rebaglio, Politecnico di Milano, Italy Álvaro Sousa, Universidade de Aveiro, Portugal Américo Mateus, Universidade Lusófona, Portugal Ana Margarida Ferreira, IADE, Universidade Europeia, UNIDCOM, Portugal Ana Nolasco, UNIDCOM, Portugal Anabela Couto, IADE, Universidade Europeia, UNIDCOM, Portugal Andrea Gaggioli, Università Cattolica del Sacro Cuore di Milano, Italy António Cruz Rodrigues, IADE, Universidade Europeia, UNIDCOM, Portugal Carlos Duarte, IADE, Universidade Europeia, UNIDCOM, Portugal Carlos Rosa, IADE, Universidade Europeia, UNIDCOM, Portugal Cláudia Albino, Universidade de Aveiro, Portugal Cláudia Mont’Alvão, Pontifícia Universidade Católica do Rio de Janeiro, Brazil Cristiana Serejo, Instituto Politécnico do Cávado e do Ave, Portugal Cristina Caramelo Gomes, Universidade Lusíada, Portugal Cristina Pinheiro, IADE, Universidade Europeia, UNIDCOM, Portugal Daniel Brandão, Instituto Politécnico do Cávado e do Ave, Portugal Daniel Raposo, Instituto Politécnico de Castelo Branco, Portugal Davide Fassi, Politecnico di Milano, Italy Dina Riccò, Politecnico di Milano, Italy Eduardo Gonçalves, IADE, Universidade Europeia, UNIDCOM, Portugal Elisa Bertolotti, Universidade da Madeira, Portugal EmÍlia Duarte, IADE, Universidade Europeia, UNIDCOM, Portugal Ernesto Vilar Filgueiras, Universidade da Beira Interior, Portugal Fernando Oliveira, IADE, Universidade Europeia, UNIDCOM, Portugal Francesca Tosi, Università degli Studi di Firenze, Italy Francisco Rebelo, Universidade de Lisboa, Portugal Gabriele Oropallo, University of Oslo, Norway Hande Ayanoglu, IADE, Universidade Europeia, UNIDCOM, Portugal Helena Barbosa, Universidade de Aveiro, Portugal Inês Secca Ruivo, Universidade de Évora, Portugal Isabel Farinha, IADE, Universidade Europeia, UNIDCOM, Portugal João Rui Marcelino, Universidade de Lisboa, Portugal Laura Galuzzo, Politecnico di Milano, Italy Loredana Di Lucchio, Sapienza Università di Roma, Italy Lucy C. Niemeyer, UNIDCOM, Portugal Maria Helena Souto, IADE, Universidade Europeia, UNIDCOM, Portugal Maurizio Teli, Universidade da Madeira, Portugal Nelson Zagalo, Universidade de Aveiro, Portugal Nicos Souleles, Cyprus University of Technology, Cyprus

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017

Paola Trapani, Unitec Institute of Technology, New Zeland Patrick Pradel, Nothingham University, UK Paula Trigueiros, Universidade do Minho, Portugal Raul Cunca, FBAL, Universidade de Lisboa, Portugal Richard Perassi, Universidade Federal de Santa Catarina, Brazil Rui Mendonça, Universidade do Porto, Portugal Satu Miettinen, University of Lapland, Finland Sérgio Lemos, Universidade da Madeira, Portugal Sónia Matos, Universidade da Madeira, Portugal Susana Gonzaga, Universidade da Madeira, Portugal Teresa Chambel, Universidade de Lisboa, Portugal Teresa Sarmento, ESAD – Matosinhos, Portugal Valentina Vezzani, Universidade da Madeira, Portugal Vasco Branco, Universidade Aveiro, Portugal Viviane dos Guimarães, Universidade Federal de Uberlãndia, Brazil Pekka Korvenmaa, Aalto University, Finland Dirk Loyens, ESAD – Matosinhos, Portugal Nancy Duxbury, Simon Fraser University, Canada

Organizing committee

Conference Chairs Emília Duarte, IADE, Universidade Europeia, UNIDCOM, Portugal Susana Gonzaga, Universidade da Madeira, Portugal Ana Nolasco, UNIDCOM, Portugal

Design André Filipe Rodrigo Mesquitela

Web Design Bruno Nobre, IADE, Universidade Europeia, UNIDCOM, Portugal Rita Boto, UNIDCOM, Portugal

Photography Cláudia Moniz Staff Joana Marques Luísa Freitas Mónica Luís Pedro Lourenço Sara Henriques Rodrigo mendonça Vanessa Fernandes Ulisses Andrade

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017

Session chairs

Ana Nolasco, UNIDCOM Elisa Bertolotti, Departamento de Arte e Design, Universidade da Madeira Cristina Pinheiro, IADE, Universidade Europeia, UNIDCOM, Portugal Ana Margarida Ferreira, IADE, Universidade Europeia, UNIDCOM, Portugal Duarte Encarnação, Departamento de Arte e Design, Universidade da Madeira Isabel Farinha, IADE, Universidade Europeia, UNIDCOM, Portugal Susana Gonzaga, Universidade da Madeira Paula Trigueiros, U.do Minho

KEYNOTES SPEAKERS Design Beyond Borders

Guy Julier, University of Brighton Guy Julier is Professor of Design Culture at the University of Brighton and Principal Research Fellow in Contemporary Design at the Victoria & Albert Museum, UK. He has over 30 years experience in design education and practice ranging from pre-University teaching to post-doctoral supervision. Formerly a Visiting Professor at the Glasgow School of Art, Otago University and the University of Southern Denmark, he has also advised on design policy to various governmental organisations and led strategy projects on developing design research for the Arts and Humanities Research Council. As Professor of Design at Leeds Metropolitan University until 2010, he established DesignLeeds, a research and consultancy unit specialising in developing new approaches to urban regeneration. His research sits at the meeting point of design and the social sciences, both in terms of its contemporary practice and historical enquiry. Most recently he has developed work on the role of design in neoliberalisation processes, resulting in his new book Economies of Design. He is also the author of The Culture of Design (3rd edition 2014) and co-editor of Design and Creativity: Policy, Management and Practice (2009).

Thomas Pausz Thomas Pausz (Iceland/France) creates scenarios for alternative material cultures. Through collaborations and local experimentations in circular thinking, Thomas designs new processes to foster social and environmental change. Using a variety of media, his work stems from a reflection on systems and energy, where a central part is given to food production and locality. Recent collaborative projects include a Museum-Archive of Icelandic Material Culture in Reykjavik (Points of View, 2016), a series of workshops and text on the future of Food Systems in Iceland (Substitutions, 2015), and an online radio on Animal Ethics (Animal Radio 2015). Personal exhibitions include Hortus Praxis at MUDAM (2012-ongoing), Three Blue Rituals for Comme Des Garcons Berlin (2013), Social Soap, Paris Suburbs (Short Film, 2009). Revisiting The Community Shed (Archival Publication, 2009 & 2012). Thomas

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017

graduated from the MA in Design Products at the Royal College of Arts and received a Design Fellowship in Design from the Akademie Schloß Solitude in Stuttgart 2013. Thomas was a resident at the Delfina Foundation in London 2016. he is currently assistant Professor at the Iceland Academy of The Arts, where he teaches process design and system thinking. Thomas is co programme leader for the Masters programme at LHI, and speaks internationally on design and cultural topics.

Nini Andrade Silva Is a worldwide prestigious interior designer, distinguished with several design prizes, due mainly to her work in hotels Design. Born in Funchal, Nini graduated in Design at the Institute of Visual Arts, Design and Marketing (IADE) in Lisbon, and simultaneously pursued her academic and professional experience abroad, where she studied and worked in New York, London, Paris, South Africa and Denmark. With an impressive work across the world, Nini have seen several times her work distinguished and becoming a constant presence in prestigious publications worldwide - New York Times, Financial Times, Harrolds, Condé Nast Traveller, Rolls Royce Excellence Guide, Wallpapper, Monocle, among others. In June 2011, Nini was distinguished by the President of Portugal, Prof. Cavaco Silva, with the Honored Title “Grau de Oficial da Ordem do Infante D. Henrique”, by her rendered outstanding service to Portugal, within and abroad. Nini has left her mark in various areas of society both academic and professional, reason because she's often asked to be speaker at various conferences, lectures and debates. The invitations come from different areas such as Universities, Cultural Institutions, TED Talks, Fairs, Seminars, and so on.

Teresa Franqueira, Universidade de Aveiro Teresa is a designer and professor at Aveiro University. Senior researcher at the ID+ Research Unit, coordinator of the ID+ DESIS Lab, and member of the international committee of the DESIS Network – Design for Social Innovation and Sustainability. She has developed her research at the Politecinco di Milano in the Research Unit “Design and Innovation for Sustainability” with Ezio Manzini and her research interests focus on themes related to service design and social innovation, and alternative scenarios towards more sustainable economic, cultural social models. Within this scope she has published various papers and participated in several international conferences. She has been invited as a keynote speaker and to take part in several workshops, particularly in relation to scenario building and the identification of possible solutions to be used for specific projects in creative places for urban regeneration culturally driven (Italy, Portugal, Sweden, UK, Finland and Brazil). She has organized the Spring Cumulus Conference in 2014 being the ScientifiC Organizer and Chair of the conference and has been organizing and leading several Design for Social Innovation Workshops with portuguese municipalities.Currently she is coordinating 3 Erasmus projects at the University of Aveiro (Strategy for Change, SEASIN and Katch-e).

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017

Rhizomes

Abraão Vicente, Minister of Culture and Creative Industries of Cape Verde Sociologist, painter and self-taught photographer with exhibitions in several countries and featured in renowned private collections. Born on the island of Santiago, in Cape Verde, Abraão Vicente studied sociology at the Nova University of Lisbon, with a thesis on the artistic field in Portugal during the 20th century. He has published the following titles: "O Trampolim" (Novel, Kankan Studio ed. 2010), "E de repente a noite" (Poetry, Kankan Studio ed. 2012), "Traços Rosa Choque (Anthology, Lua de Marfim 2012), "1980 Labirintos" (Prose poetry, Moon of Ivory 2013), "Amar 100 Medo, cartas improváveis & outras letras " (Poetry, Kankan Studio, 2014). He is represented in the short stories anthology "Dez Contos para ler Sentado" (Caminho, 2012), Djosa. Terra, Pão & Mar (Rosa de Porcelana, 2016), Cabo Verde: 100 poemas escolhidos (Pedro Cardoso Bookstore, 2016).

Godfrey Baldacchino, University of Malta Godfrey Baldacchino PhD (Warwick), BA (Gen.) (Malta), PGCE (Malta), MA (The Hague) is Pro-Rector for International Development and Full Professor of Sociology, Department of Sociology at the University of Malta, Malta. He is also UNESCO co-Chair in Island Studies & Sustainability (a position shared between the University of Prince Edward Island (UPEI), Canada and the University of Malta. He is Editor Emeritus of island Studies Journal (ISSN: 1715-2593), now indexed in Web of Science. He served as Visiting Professor of Island Tourism at the Universita' di Corsica Pascal Paoli, France (2012-2015). He was Member and Chair of the Malta Board of Cooperatives (1994- 2003) and core member of the Malta-European Union Steering & Action Committee (MEUSAC). In 2008-2010, he was Vice-President of the Prince Edward Island Association for newcomers to Canada . In 2014, he was elected President of the International Small Islands Studies Association (ISISA). In June 2015, he was elected Chair of the Scientific Board of RETI, the global excellence network of island universities.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017

FOREWORD DESIGN BEYOND BORDERS

The 9th edition of the International Design Conference, Senses & Sensibility is proud to present this edition theme: Design Beyond Borders. In a globalized society, a cultural centralization paradoxically emerges, dictating patterns, trends and somehow defining, to a certain extent, a universal design thinking and practice. Nevertheless Design operates within different contexts that define its program and many times influence’s practice and ultimately final solutions. This year we pretend to reflect and discuss the role of Design in peripheral areas. The concept of borders can be understood in geographical, as well as theoretical and practice levels. In times as we are now facing, where walls are asked to be built, and therefore intensifying limits, how can design enhance a more transnational knowledge, exchange of best practices and promote a common wealth being?

SSDBB emphasizes the significance that design acquires in neighboring areas, beyond the big western decision makers. SSDBB asks: is the designer's role changing into a more hybrid profile? Who are the people working in transdisciplinary scenarios or multidisciplinary teams, beyond the borders of traditional Design paradigms? What are the challenges, difficulties or joys of design practice, education, culture, technology, as well as strategic and social environments? These are the tracks where the conference’s theme, “Design Beyond Borders”, pretends to generate scientific knowledge. We would also like to enlarge the discussion on how Design operates in neighboring countries, cities or isolated territories. How design contributes to your town, to your community, city, culture? Does it help to improve the local economy and industry in an efficient, decentralized, as well as unique and genuine way? These are the challenge that we’ve asked to all participants. Their answers and proposals are part of the contents of this book. We strongly believe these help to generate a more profound and consistent vision about other ways and procedures that Design embraces. From these considerations this book certainly contributes to a more heurist knowledge about this extraordinary discipline that Design is.

Emília Duarte Susana Gonzaga

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017

FOREWORD RHIZOMES

The islands’ openness to the sea, as well as their concomitant isolation characterizes its oxymoron: the topos of excellence of the mainlander’s imaginary is the islanders’ homeland – a metaphor for isolation for some, communication platform for others. Globalization, and the resulting erosion of local cultures, has led to the emergence of alternative views opposed to this western hegemony, through the exaltation of local know-how and vanishing life-styles. In the context of globalization and increasing transnational mobility, Rhizomes aims to promote a reflection on the intersection between handicraft, design and art productions in insular spaces. By their understanding of praxis as poiesis – inherited from the Arts&Crafts movement – artists, artisans and designers are the creators and modulators of the perceptible. The Arts&Crafts movement was designed by William Morris and Ruskin as a way of unifying artists and artisans around the concept of Gesamtkunstwerk, in opposition to what they considered to be the degradation of the quality of life, namely in what concerns working conditions and environment, caused by the Industrial Revolution. At the same time, projecting and producing were becoming distinct phases, giving birth to the modern concept of the designer as the one who devises the “designium”. This concept was integrated by the Bauhaus, which, following its initial chapter, adopted industrial production as the best manufacturing system. In this way, the conference aims to address the following questions: i) In which way can art, crafts and design contribute to the preservation and modernization of insular cultures in the face of globalization? ii) What is the specificity of these islands’ artistic, artisanal and design creations? iii) On what grounds can a platform of dialogue be built between islands with an African sociocultural matrix and islands of European sociocultural context? iv) How can initiatives of artistic, artisanal and design co-creation between African and European islands – in which both partners are mutual creators and benefactors of their work – be brought to fruition into an emancipatory experience for both? v) In what way can the connection between art, craft and design contribute to the islands’ sustainable development in the context of globalization? vi) What creative constellations have emerged, on the mainland, as a result of the islands’ creative exports? vii) Finally, in what measure do islands constitute creative laboratories of subversive movements reinstating what is known as traditional expertise through art and design, and contributing to a global sustainable cultural development?

Ana Nolasco

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017

CONTENTS Design Beyond Borders

Cakiroglu, I. 01 Genders of Products: Creating Genderless Design. Camocini, B, Collina, L. and Piazza, M. 08 Thematic Clusters at Expo 2015 Milan. Studying Arid Zones as a Creative Lab. Camocini, B., Di Prete, B. and Rebaglio, A. 14 Temporary and Narrative Design Approaches for Fragile Urban Contexts. Curralo, A. F. and Paiva, S. 21 UX Design and Incluso App Development. Duarte C. A. 27 Mutual aid: As an evolutionary process of cooperation in design to achieve simplicity. Dworak, W. S., Paz, I. L. and Filgueiras, E. V. 33 Using UX Techniques in the Game Design Process: Practical Approach of The Initial Phases of a Project. Fernandes, M. S., Mateus, A., and Leonor, S. 38 Graphic Design a (Borderless) Dynamic Career Gancho, S. 42 Literature Review: Design Management Models and their relevance to Branding. Góis, J., Oliveira, S., Rosário, A. and Mendonça, R. 50 Working process with plastic a way to reduce the stigma of schizophrenia. Gonçalves, D., Niemeyer, L. and Ventura, C. 58 Do Designers Dream of Electric Sheep? a Utopian Essay on Design Ethics. Gonzaga, S. and Vezzani, V. 66 Social Sustainability Education. Experiences beyond the borders of traditionalism. Lopez, A., Bartachini, J. and Mendoça, R. 75 Reverse Process in Stigma Products. Motta, A. C. and Loyens, D. 83 Product Design in a Circular Economy: Competencies and Responsibility. Oliveira, I., Providência, B., Martins, C., Fernandes, I., Duarte, M. and Trigueiros, P. 90 Artefacto #0000: study of traditional ceramic jug “Infusa”, for innovation by design, in Northern Portugal. Pinheiro, C., Farinha, I. and Ferreira, A. M. 98 Impact practices: Communication & Design Case studies Ponte, R. and Niemeyer, L. 106 Design: A field in search of its own contours. Rocha, H. R. 114 Curators: what can Design learn from contemporary art? Sambade, A., and Ferreira, A. M. 121 Co-designing the Future: How Designers and Research Labs play an important role to Social Engagement and Sustainability. Santanicchia, M. 130 Becoming Citizens: Systems Thinking in the Design Education.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017

Sarmento, T. and Alvarado, I. O. 138 Roles of Design in Social Innovation: examples from Portugal. Souleles, N., Savva, S. and Ferreira, A. M. 146 The challenge of embedding design for social change and innovation in Higher Education curricula and the role of DISCERN (DesIgn for Social Change and innovation through a EuRopean Network). Sousa, A. and Rosa, G. S. 152 Typography and vernacular brands in northeastern Brazil: for the valorization of the graphic heritage of Rio Grande do Norte. Tang, T. and Vezzani, V. 159 Fostering a culture of collaboration through playful Design Jams. Trigueiros, P. 168 Three categories of design actions to reuse materials and waste - opportunities for designers at University of Minho. Trocchianesia, R., Bollini, L., Borsotti, M. and Pirola, M. 174 Metaphorical exhibitions between art and design: a mutual relationship beyond borders

Rhizomes

Falcão, G. 175 The “Neurath Problem” as an Example of the Glitches Raised in Design Education by the Dominant Historical Narratives. The Mystics of the Myth, Part II. García, N. R. 180 Festivities posters of the Canary Islands León, S, del P. de, Hernández, F. A. and Conesa, I. P. 186 Casting with Ceramic Shell and the Deployment of Microwave Susceptors for the Dewaxing of Jewelry Parts and other Small Size Objects Nolasco, A. 191 Hand to Hand: Design for Sustainable Living Fróis, V. 199 Art Projects with a Groups of Women Potters of Cape Verde: Air in the Sea and Save the Waters

Workshops

Trigueiros, P. 206 The Right to Design: merging boundaries #1: from “mainstream” to “exclusive design”; #2: From “exclusive” to “inclusive design” Bertolotti, E., Suteu, I, Drouin, S., and Martinoni, J. Lines in motion. Insights on the creative process of the collaborative animation Giudice, A. DECOLONIZACTION Farinha, I., Pinheiro, C. and Ferreira, A. M. Moving life in circles: communication & design for a circular economy

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017

Crisp, D. G. and Abdullah, N. Situational Methods in (Graphic) Design Franzreb, D. Identifying opportunities for collaborative German-Portuguese User Experience and Design Thinking research Ferreira, A. M., Farinha, F., Pinheiro, C., Souleles, N. and Rocha, H. Senses & Sensibility for Social Innovation and Sustainable Behavior: Sensing New Design [Higher Education] Landscapes

Keynote lectures Design Beyond Borders

Franqueira, T. 208 Design, Social Innovation and Collaboration Julier, G. 209 Design After Neoliberalism?: Reconstituting its Borders, Rewording its Practices Pausz, T. 210 An Exploration of Transgressive Design

Rhizomes Baldacchino, G. 211 Understanding Islandness: A Journey in Five Steps Vicente, A. 221 Ilhas mundo, a reinvenção da matéria ilha

Invited project presentation Souto, M. H. 222 MoMoWo - Women’s Creativity Since the Modern Movement

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017

Genders of Products: Creating Genderless Design

Irem Cakiroglu a b

a Department of Industrial Design

Istanbul Commerce University, Istanbul, Turkey [email protected] b Graduate School of Science Engineering and Technology Istanbul Technical University, Istanbul, Turkey [email protected]

ABSTRACT

Gender identities are defined based on social constructions. Today, not only women but also all constructed identities, should be treated equally as human-beings. For an equal world, designers have a significant role for shaping culture and the society. Thus, the designers’ role is to use their material to design products that are independent from all constructed bias and to point to the importance of genderless design for the society. The aim of this paper is to investigate how masculine and feminine stereotyped characters have been imposed on products, the importance of genderless product, and how it can be designed. First, feminist theory, queer theory, and cyborg manifesto are explained so as to understand the necessity of gender-neutral communities, then, gender elements on products are examined, and finally, how genderless product can be designed according to the analysis is discussed. This research is an initial study to understand gender parameters in product design to contribute to future studies.

Keywords: genderless design, product, queer theory, feminism

INTRODUCTION

Gender issues in society have had a place in many fields such as philosophy, sociology, and psychology. After the 1980s, gender issues also have been discussed in design studies. Design researchers especially mentioned male domination in design (Buckley, 1986; Attfield, 1989; Clark, 2009; Kirkham, 1996). Buckley (1986) pointed out the necessity of women’s “presence” in design practice and also in design theory. In addition, designers are encouraged to examine women’s role in design and to express the notions of “feminine, gender, woman, and subjectivity” again (Buckley, 1986). Attfield (1989) stated “other” in the patriarchal design community, who is lesser superior such as women. Diversity in design has been accepted with postmodernism, however, this caused a reconstruction of superior gender and has emphasized other more than before (Buckley, 2009; Kirk- ham, 1996). Unfortunately, design researchers have focused on the woman’s side in gender issues and gender- neutral perspective has been ignored. So, how can design contribute to movement beyond that perception? Design is an interactive profession that transmits ideas and products can be considered a tool for the designer to communicate with the user (Schroeder, 2010). Not only in design theory but also in design practice, thinking beyond borders can have a significant impact on change of the perception of gender. Unfortunately, feminist designers have not focused on representation of product in a gender-neutral way. Some feminist design research (Ehrnberger & Rasanen & Ilstedt, 2012; Bardzell, 2010) are examined through women and men gender types by conversion of gender ingredients to contrast gender-identified products. This shows also acceptance of social gender norms and if gender is considered as a “performance”, which is an act demanded by the society while sex is given by nature (Butler, 1990), that cannot be seen as a feminist approach to design. This could only be a patriarchal perspective on feminist design practice. Today's design approach tries to emphasize un-equality by examining women instead of removing gender discrimination. Thus, this study examines how designers can reach to genderless design to eliminate gender discrimination in products as much as in society. So, how can design practice contribute to feminism? How

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 1 Irem Cakiroglu can gender semantics be read in products? More importantly, how can gender symbols be erased from products? To investigate gender issues in design, first, femininity and masculinity factors of products will be discussed in the paper, then, with the enlightenment of feminist theories and approaches, gender issues will be examined to eliminate human-made gender identities of products and to design more gender-neutral products.

Feminist & Queer Theory Even though feminist theory fundamentally has been built on women’s rights for social, economic, political and other cultural norms against the power of men, today, feminist theory looks at gender as a whole and discusses discrimination on not only women, but also people who are downtrodden by patriarchy which creates gender identities (Richards, 2014). The first wave of feminist theory emerged between the 1830s and the 1920s to defend women’s rights on voting and social, and economical issues. In addition, the second wave of feminism, which emerged in the 1960s, questioned the patriarchal structure which objectified and obstructed women who tried to have a place in a modern world (Tolan, 2007; Buckley, 1986) due to the fact that the women continued to be ignored in social life after the acquisition of the rights. While modernism does not count women in a patriarchy world, feminist issues have converted from women’s presence to binary of gender identities with postmodernism (Gauntlett, 2002). Beginning with postmodernism, a binary society based on woman and man, masculine and feminine, ornament and functionality have been built (Attfield, 1989). Women have become “other” in men’s eyes. Femi- nist theory, in the 1980s, discusses gender oppression and objectification of other (Buckley, 1986; Buckley, 2009). In many fields, the change in gender issues, discussion of gender binary instead of woman, is debated by feminists as a re-construction of gender identification according to social norms in a patriarchal world (Buckley, 2009; Attfield, 1989). De Beauvoir had a significant role in providing the emergence of discussion about constructed gender identity (Butler, 1990). De Beauvoir states “one is not born, but rather becomes, a woman” in Second Sex, thus opening the door for the second wave of feminism (Tolan, 2007). It means that being a woman is gained after born while sex is a biological fact. However, until Foucault (1978), the distinction between sex and gender had not been made (Butler, 1986). The effect of feminist theory cannot be denied on the new theories like queer theory (Butler, 1990). Queer theory supports the feminist theory in terms of eliminating binary gender norms in society (Jagose, 2009). Foucault (1978) discussed the queer theory by examining how sex is used politically to create social discriminations and oppressions on western society. Butler (1990) explained the difference by gender is a cultural label whereas sex is a biologically given. Queer theory researchers claimed that sexual identities are built on social constructions which are created by societies. Thus, gender is not formed from our biological differences but it is constructed on culture as identities (De Beauvoir, 1949; Flax, 1987). Queer theorists claimed male and female roles can be learned and also, more importantly, can be broken (Gauntlett, 2002). So, Butler (1990) argued against to the general belief that behavior is shaped by sex; in contrast, she noted that attitudes determine our gender. That is the reason gender was described as a performance. People are not only actors of the performance but also spectators of that fiction. Products also allow for operation of the system. The process of designing, producing, consuming, and using the everyday products contribute to the performance. On the other hand, there are many factors which effect culture like commercials, tv, billboards. Media is one of the most important factors that teach and shape gender identities (Gauntlett, 2002) similar to everyday products. Gauntlett (2002) states that Madonna had a significant impact on the deconstruction of social binaries such as woman and man and gay and straight by blurring notions of gender identity through her albums and clips in the 1990s. Products can also be accepted as a media in human lives, so designers should consider their role regarding gender issues.

Cyborg Manifesto As it has been mentioned before, binaries such as feminine vs masculine, ornament vs function, weak vs strong create other perception in a postmodern world (Buckley, 1986). Haraway (1991), in her cyborg theory, asserts that current socialist feminism constructed dualisms like human vs animal, animal/human vs machine and physical vs. non-physical cannot be used to move feminism forward. As a solution, she suggests that the only way is to “blur the boundaries” between those notions. “Blurring the boundaries” between machine and organism creates new opportunities for feminist culture. Thus, she created a cyborg which is “a cybernetic organism, a hybrid of machine and organism, a creature of social reality as well as of fiction”. Women’s bodies have been evaluated as a cyborg in her manifesto. A cyborg is a human-machine creature which is neither a woman nor a man. Haraway (1991) claims that all human-beings are cyborgs in the postmodern world. It is a criticism of postmodernism and a libertarian and an Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 2 Genders of Products: Creating Genderless Design equitable perspective to social constructions (Haraway, 1991). Moreover, cyborg feminism suggests no gender and no other cultural categorization tools. In the light of the cyborg theory, living independent from social norms, genderless design is an option for our society. Gender, as a social performance, may be exceeded beyond its defined borders with also genderless products. With this perspective, products can be also more liberal without gender perceptions. To sum up, gender issues in design cannot be solved by creating feminine products or transforming masculine products into feminine products. Instead, designers should explore the way to come up with a genderless design. Only in this way, designers can provide gender equality in design. Giving feminine meanings to a masculine identified product does not make the product women oriented. Even though it can be considered as that way, the product only emphasizes the binary nature of woman and man, which is not the proper feminist approach to design research. Thus, in this paper, what degree gender elements are in products and how genderless products can be designed will be investigated. To articulate genderless product design, it has to know what the masculine and feminine parameters are on products. To determine of genderless product characters, products that have genders in their terms have to be looked at and analyzed according to those gender elements on products. After defining the parameters of gender in product design, then it will be possible to examine genderless design. Thus, in this part of the paper, characteristics of masculinity and femininity in the product will be exposed.

GENDERS OF PRODUCTS

Not only designers but also marketing researchers have been investigating gender identification of products. However, the difference between marketing researchers and design researchers is that customer preferences are categorised in marketing studies, but designers have a possibility to shape the society with everyday products. For example, in market research, preferences of customers through gender identities of products were examined in order to understand what increases sales (Alreck, 1994; Ritnamkam & Sahachaisaeree, 2012; Fu- gate & Phillips, 2010). Iyer & Debevec (2015) stated that products also have gender identity similar to people and they noted the importance of media, user, and purchaser on constructed gender identity on products; and all studies were to be able to provide benefit to the market while the designer is an actor of gendered product process. In addition, designers have a significant role to define relation between technology and its users by giving products their shape, function and meaning (Oudshoorn & Lie, 2002). Those products affect people’s lives and behaviors in many ways. Latour’s actor-network theory (1992) emphasizes how artifacts have an impact on our lives. Artifacts are designed to make things easier to live Latour’s the seat bell example articulates that no matter how much people do not want to fasten our seat bell, a repetitive alarm sound makes us to do. As shown in the example, it is clear that a machine can take a place as a reminder. If there was no alarm or no caution, fastening the seat bell may have been forgotten or may not have been done deliberately. However, annoying and insistent voice of the alarm makes drivers obey the rules (Latour, 1992). So, as stated, norms and constructed behaviors can be modified by artifacts. Winner (1980) discusses the power of artifacts and how they can be used to direct social perceptions. Winner’s example explains why low in height bridges were designed. The main aim of the bridges is to prevent lower income people, who use high-size public transportations, access to public beaches. This is an example of discrimination facilitated through the use of artifacts (Winner, 1980). Previous studies show that designers have the power of influencing social identifications in society. Today’s everyday products have been labelled in only two categories which are women or men; therefore, also in this inquiry, identifications of only these genders will be examined. Research shows that men are more concerned with function, linear shapes, more technical and three-dimensional aspects of products while women are interested in aesthetic, rounded shapes and color (Moss & Colman, 2001). Another study indicates that men are more into straight lines, hard surfaces and three-dimensional approaches to products whereas women prefer to use soft lines, rounded surfaces, detail and ornament on products (Moss, 2003). In the article of On Gender and Things, Oudshoorn & Lie (2002) mention that women are not interested in technological objects and that rounded forms with pastel colors are more attractive for them, however, men pay more attention to technological objects, dark colors and aggressive lines on products. The question is those are the constructed choices or not? It cannot be denied that users have been affected by gender categorization of the western culture and the preferences have been shaping by them. Thus, gender research in design should be conducted by being aware of what the difference between gender and sex. In addition, the designer plays a major role on breaking that perception of users by designing genderless products. One of the social constructions of society can be noted as stereotyping gender perception. Wrightsman (1977) described stereotype as “a relatively rigid and oversimplified conception of a group of people in which all individuals in the group are labeled with the so-called group characteristics”. It is similar to gender label, for

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 3 Irem Cakiroglu example, although all individual men have different preferences they are stereotyped with the male label. Today, gender issues are still evaluated through stereotype models. Products and brands have been designed according to a simple conception of male and female (Alreck & Settle & Belch, 1982). Some domestic products such as vacuum cleaners, mixers and microwave ovens are seen as feminine products while drills and automobiles are accepted as male products because of their stereotyped users (Oudshoorn & Lie, 2002). It seems that the sex of users affects the design of the product and stereotyped gender features can be arrogated to product preferences. For example, mixers generally have a simple interface with pictograms and pastel colors and rounded shapes because it is assumed that stereotyped women are not interested in technology as much as men, cannot understand complex electronic products, like pastel colors, and have curvy bodies, so do the mixer. The reason can be the perception of that it is a women-oriented product and should represent femininity. It is clear that confusion of sex and gender notions creates stereotyped gender identities on products. In summary, masculine identified products have a technological, three-dimensional, function based look with dark colors, straight lines and without details while feminine identified products have a less technological look with colorful, detailed form and rounded lines. The experiments were generally conducted according to preferences of male and female, however, the results may be largely due to the fact that gender stereotypes have been imposed on individuals since they were children, for example, pink for girl and blue for boy. (Cun- nigham & Macrae, 2011). The investigation of the Philips shavers to examine gender patterns through the same product was analyzed for semantic differences of gender in western markets (Oudshoorn & Lie, 2002). The product that serves the same purpose has a dark-monochrome color, sharp edges, digital display and is rechargeable anywhere in a socket for men and has pastel color, rounded edges, pictograms and is rechargeable at home because of the big and stable adapter for women (Oudshoorn & Lie, 2002). The study is the basic example of how gender characterization can apply on products and users’ life. A scale measuring the degree of masculinity to femininity on products can be schemed according to features such as underlining functionality, straight or curvy line type, color choice, detail amount, size, and the three-dimensional effect. Exaggerated functional properties, strong lines, dark colors, less detail, bigger and more three dimensional are signals for men in the constructed language of design. As social culture constructions and norms indicate that man refers to strong, mechanical and sharp, men’s products reflex this. Feminine products, on the other hand, are more domestic, simple, ornamented, less technological and pink (Oudshoorn & Lie, 2002). It can be clearly read through these products who society imposes us to be. Thus, traces of gender identity should be reduced on products to avoid gender definitions in society by products and create a more equal society.

GENDERLESS DESIGN

To lessen stereotyped gender perceptions, our role as designers is to blur boundaries between male and female products (Cunnigham & Macrae, 2011). As mentioned in the Cyborg Manifesto (1991), also in design, binaries which are made by society have to be blended. In the case of gender, the majority of these binaries are feminine and masculine and their representation on products has been discussed above. Obscuring gender effects on products will lead society in an equitable way by the medium of design. The question is how femininity and masculinity factors can be eliminated on products? What way should designers follow? Genderless design can be created by several ways. One method can be to eliminate the all signs of masculinity and femininity (which gender types that dominate the market) which have been previously listed in order to extract constructed genders from products. This causes no differentiation between women or men oriented products. In other words, the product should have a poker face which its gender identity cannot read by users. However, going out of all gender types can be difficult for designers due to the opposition of the gender characters. For example, trying to create less curvy surfaces on products makes it closer to the masculinity. Thus, the important thing is balancing of the masculine and feminine signals for genderless products. In addition, context of the product can be considered a significant factor in designing genderless products. The type of product can affect the approach to gender issues because value of the gender identification elements, such as size, color, curve type, have different levels of priority for each type of products. For instance, watches’ priority order of the gender elements can be different from those of cosmetic bottles. Size is an essential factor for watches which means bigger one is accepted for men while small size for women. On the other hand, for cosmetic bottles, curve types of three-dimensional form are influential factors to show identified gender type. Curvy lines on bottles represent women and straight lines refer to men. All gender pattern priorities should be considered in its own type and applied to the product according to such. Thus, research about gender issues on product design should be widened for determinations of those specific features on products.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 4 Genders of Products: Creating Genderless Design

Product semantics can be also checked through examining gendered razors, Gillette Venus Breeze for women and Gillette Mach3 Turbo for men in order to see how product type has an impact on the differentiation of the gender identification factors in the product. Also, these models of Gillette’s razors were chosen because they have same technical properties and they can be considered as a same category in their target groups. The products have been examined in Turkish market but the most of the markets in Europe also have the same products. First of all, not only their names but also their packages reveal the fact that one of them represents femininity while the other underlines masculinity. Venus Breeze has a pastel colored, flower visuals, and the package notes that the razor promises a soft and aromatic skin that emphasize the femininity. Is only thing that women care about that their shavers give them a pleasant moments or they would just like to shave their hairs on their legs properly? On the other hand, Mach3 Turbo’s package has sharp rays on the visual as a representer of the machine power. Also, the package of the Mach3 Turbo only mentions capabilities of the blades and the blades can be seen on the backside of the package by the little window whereas Venus Breeze capsuled all blade heads in the package and the blades cannot be even seen. These can be interpreted as functionality is a significant feature for masculinity and hygiene is pointed out for femininity. The other difference between the packages is that Venus Breeze has an easy opener which can be interpreted as a symbol of the weakness. Even though both products have same features such as three blades and disposable heads, representation of the products creates different perceptions of gender. Secondly, about the product semantic, Gillette Venus Breeze has a light purple color, transparent or opaque plastic materials, curvy and rounded exterior design, and wavy textures while Gillette Mach3 Turbo has metallic grey and dark blue colors, metal and plastic materials, straight form, and aggressive textures. The color of the product is one of the most effective factor to ascribe a gender in the context of that kind of products. Venus Breeze has a pastel lilac color like other series of Venus razors. Even though blue is used in the women oriented products, pastel blue tones or combined with lighter colors is preferred in creating femininity. In western society, pastel colors referred to women while dark colors to men (Oudshoorn & Lie, 2002). Thus, if usage of colors on the products is switched to each other, there is a possibility that gender identification can be affected in this example. Thus, neutral colors, in the context of that product, should be used to design genderless. For instance, using white alone can be accepted as a gender-neutral color in the western culture contrast to pastel or dark colors. Representation of the material also can change the perception. For example, Venus Breeze has a transparent and opaque plastic appearance which makes the product cheaper than a metal finishing and it looks more like a toy. On the other hand, Mach 3 Turbo has a metallic appearance in order to be machine-like and to be looked have a better quality than the razor for women. The usage of material is an essential point for the context of gendered razors that cannot be found in many products, such as, the context of perfume bottles which generally have a glass body and a metal cap for both genders. Exterior design and textures of the products are the other effective factors for gender identification of the razors. Texture and exterior design are not influential as color and material in products to define a gender, however they support the gender identification when used with material and color elements in product design. On Venus Breeze, shape of the body has curvy form and there are wavy textures on it. Even head side of the product has round rounded edges which give it an oval look. In contrast, Mach 3 Turbo’s body has straight form and head side has a rectangular shape. As a result, all design elements of gender identities have their own constructed identity levels on their product class, thus, it is a significant point to determine factors in the product. Another option could be finding common sides of those binaries and bring that to the foreground. In that way, femininity and masculinity can be neutralized. As a matter of fact, gender differences cannot be separated from each other sharply and there are some shared qualities for both genders (Stilma, 2010). To create genderless design, it should be thought that what all human-kinds care about the product. For example, functionality and ergonomics of the product are fundamental properties (Stilma, 2010). Genderless design can be managed by keeping other properties out of context, for example, by using neutral colors, shapes, sizes, interfaces which do not emphasize constructed gender identities. As a supporter of a gender-neutral attitude in design, genderless design may move the perspective of people beyond stereotyping and gender labeling. Haraway, in 1991, puts something out there to break down the perception of human identity, woman identity, even man identity on individuals in the creature of the Cy- borg. Buckley (1986), as a design historian, emphasizes the importance of mentioning the necessity of equality in design history. Today, the designer should begin genderless design to purify socially constructed gender discriminations on the society.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 5 Irem Cakiroglu

CONCLUSıON

Previous studies show that design has a power of assigning social categorizations in society. Designers should be aware of that and contribute to the future without prejudices, boundaries, and classifications. In a man- made world, not only presence of women but also all constructed identities have to be eliminated. Even in a world that technology outputs are first designed for men, then converted to, other genders in order to widen their market space, a designer’s role is to use their material to design independent from all constructed bias and to begin genderless design for an equal world. As a guide for all product designers, feminist theories, queer theory, and the cyborg manifesto have been discussed in the paper. It is clear that current western world problem is not only women but also all people who have been demeaned by cultural norms. Those discriminations are imposed by many tools such as advertisements, popular culture, and in our case, products. The masculinity and femininity of a product, which is imposed on us by society, has been analyzed. So, one of the solutions to this inequality in society is product design practice. According to the gender signs of products, how genderless product can be designed and the importance of genderless design were essential topics of the paper. This research is an initial study to understand gender parameters in product design to contribute to future studies. For next investigations, genderless design methods can be expanded through some experiments with users. Effects of gender parameters on products differentiate by the product type, thus, these parameters should be examined in its own context. In addition, gender identities on products can be affected by the context of the profession, thus, investigations can be conducted by separate design areas. The most important thing is to keep a gender-neutral attitude in design in order to move forward, thus, the aim of this paper is create this awareness in the design field and create another perspective for design practice.

ACKNOWLEDGEMENTS

I would like to thank Muhammet Ramoğlu, my peer at Istanbul Technical University, for his contributions on the paper. I am also thankful to Buse Özçelik and Emre Gökdel, my colleagues at Istanbul Commerce University, for their peer reviews.

REFERENCES

Alreck, P.L., Settle, R. B and Belch, M.A. (1982), “Who Responds to Gendered Ads, and How?”. Journal of Advertising Re- search, 22,25-32 Alreck, P. L. (1994). Commentary: A new formula for gendering products and brands. Journal of product & brand management, 3(1), 6-18. Attfield, J. (1989). FORM/female FOLLOWS FUNCTION/male: Feminist Critiques of Design. na. Buckley, C. (1986). Made in patriarchy: Toward a feminist analysis of women and design. Design Issues, 3-14. Buckley, C. (2009). Made in patriarchy: Theories of women and design-A reworking. Butler, J. (1986). Sex and gender in Simone de Beauvoir's Second Sex. Yale French Studies, (72), 35-49. Butler, J. (1990). Gender trouble, feminist theory, and psychoanalytic discourse. Feminism/postmodernism, 327. Clark, H. (2009). The Difference of Female Design. Design Studies: A Reader, 293-7. Cunningham, S. J., & Macrae, C. N. (2011). The colour of gender stereotyping. British Journal of Psychology, 102(3), 598-614. De Beauvoir, S. (1949). The second sex. Vintage. Ehrnberger, K., Räsänen, M., & Ilstedt, S. (2012). Visualising gender norms in design: Meet the mega hurricane mixer and the drill dolphia. International Journal of design, 6(3). Flax, J. (1987). Postmodernism and gender relations in feminist theory. Signs: Journal of women in culture and society, 12(4), 621-643. Foucault, M. (1978). The history of sexuality, volume I. New York: Vintage. Fugate, D. L., & Phillips, J. (2010). Product gender perceptions and antecedents of product gender congruence. Journal of Consumer Marketing, 27(3), 251-261. Gauntlet, D. (2002). Media, gender, and identity. London, NY: Routledge. Goodall, P. Design and gender. In The Block Reader in Visual Culture. Routledge, 1983. Haraway, D. (1991). Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieeth Century. Simi- ans, Cyborgs and women: The reinvention of nature, 149-181. Iyer, E. S., & Debevec, K. (2015). Bases for the formation of product gender images. In Proceedings of the 1989 Academy of Marketing Science (AMS) Annual Conference (pp. 38-42). Springer, Cham. Iyer, E. S., & Debevec, K. (2015). Gender stereotyping of products: are products like people?. In Proceedings of the 1986 Academy of Marketing Science (AMS) Annual Conference (pp. 40-45). Springer, Cham. Jagose, A. (2009). Feminism's queer theory. Feminism & Psychology, 19(2), 157-174.

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Kirkham, P. (Ed.). (1996). The gendered object. Manchester University Press. Latour, B. (1992). 10 ‘‘Where Are the Missing Masses? The Sociology of a Few Mundane Artifacts’’. Moss, G. (2003). The implications of the male and female design aesthetic for public services. Innovation, 8, 4. Moss, G., & Colman, A. M. (2001). Choices and preferences: Experiments on gender differences. Journal of Brand Manage- ment, 9(2), 89-98. Oudshoorn, N., Saetnan, A. R., & Lie, M. (2002, August). On gender and things: Reflections on an exhibition on gendered artifacts. In Women's Studies International Forum (Vol. 25, No. 4, pp. 471-483). Pergamon. Richards, D. A. (2014). Resisting Injustice and the Feminist Ethics of Care in the Age of Obama:“Suddenly,... All the Truth Was Coming Out”. Routledge. Ritnamkam, S., & Sahachaisaeree, N. (2012). Cosmetic packaging design: A case study on gender distinction. Procedia-Social and Behavioral Sciences, 50, 1018-1032. Schroeder, K. (2010, September). Gender dimensions of product design. In Gender, Science, and Technology Expert Group meeting of the United Nations Division for the Advancement of Women (UN-DAW) (Vol. 28, pp. 193-200). Stilma, M. (2010). Product design and gender as example of a research based styling master course. In DS 62: Proceedings of E&PDE 2010, the 12th International Conference on Engineering and Product Design Education-When Design Educa- tion and Design Research meet..., Trondheim, Norway, 02.-03.09. 2010. Tolan, F. (2007). Margaret Atwood: feminism and fiction (Vol. 170). Rodopi. Winner, L. (1980). Do artifacts have politics?. Daedalus, 121-136. Wrightsman, L. (1977), Social Psychology, 2nd editoin, Monterey, Califonia: Brooks/Cole.

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Thematic Clusters at Expo 2015 Milan. Studying Arid Zones as a Creative Lab

Barbara Camocini a Luisa Collina b and Mario Piazza c

a Design Department Politecnico di Milano [email protected]

b Design Department Politecnico di Milano [email protected]

ABSTRACT

Arid Zones are typically defined in terms of lack of resources: water scarcity, a widespread risk of desertification and a fragile balance between water, food and energy. The paper proposes a different interpretation interpretation of the Arid Zones as a virtual creativity lab, which is stimulated by these primary issues. The research, implemented by the Design Department of Politecnico di Milano for the curation of the exhibition at the Cluster Arid Zones of EXPO Milan 2015, traced the following design approaches in these areas: building on existing customary practices and local empirical knowledge; reinterpreting people behaviors to empower the impact of innovative projects; adopting a multidisciplinary approach to link different fields of research. The results confirm the important role of the design discipline in such a fragile context, marked by difficult living conditions and fragile environment, as it allows envisaging the impact of the diffusion of certain innovations through various disciplinary fields of action. This systemic view helps us to broaden the thematic focus reminding that these emergencies are not just concerning the Arid Zones, often considered at the borders of our field of intervention, and it leads us to enhancing activities of forecasting, visualizing and communicating risks, moving from a local to a global level.

Keywords: Arid Zones, Desertification, Soil Consumption, Virtual Water, Scenario of use, Innovation, Empirical Knowledge, Vallerani System, Desert farming, Millennium SDGs

INTRODUCTION

The Design Department of the Politecnico di Milano was commissioned by EXPO 2015 to curate the exhibition to be set up in the common spaces of the Arid Zones Cluster, which was one of the nine Thematic Clusters presented at the Universal Exhibition of Milan in 2015. The aim of the exhibition was to depict the Arid Zones features, framing them within the main theme of Expo 2015, ‘Feeding the planet. Energy for Life’. The cluster itself was actually an immersive environment where its main topic ‘Agriculture and Nutrition in the Arid Zones’ was expressed through three main types of intervention: the environmental design of layout and the facades architectural project; the curation of the exhibition; the open-air photo gallery. Indeed, the Cluster of the Arid Zones, by vocation, was among those that have addressed more directly the deep meaning of the main theme of Expo 2015 Milan, namely the importance of Feeding the Planet in order to continue feeding humans, highlighting the resource constraints and the fragility of the environment and ecosystems around the world. The exhibition, therefore, allowed conveying how much the risks of desertification, water scarcity and environmental impact of any human production processes are threatening the whole globe, not only the Arid Zones. Indeed, Arid Zones are progressively acquiring a central position within the research de-

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 8 Barbara Camocini, Luisa Collina and Mario Piazza voted to the future of humans on the planet, though they are often perceived as border areas from a Europe- an and North American perspective and because of the peculiarities of extreme living conditions. The main result of the research, implemented for the curation of the exhibition by the Design Department, was the interpretation of the Arid Zone's context - a territory, a set of ecosystems and a community of people - as a creative lab conceived to address different environmental issues through the adoption of a wide variety of design solutions. The research, carried out through the Design discipline lens, permitted to recognize some typical characteristics of the design activity in areas where living conditions are very difficult and the balance of the environment is particularly fragile. The creative lab emerging through the case studies presented in the exhibition – a selection of which is proposed in the next paragraphs – enabled to emphasize three observations, which can be linked by a logic process: § the upgrading, renewal or re-elaboration of customary practices, often concealed in local empirical knowledge (knowledge derived from the experience), as a valuable starting point of reference for analysis and the study of new solutions valid also nowadays (Krippendorff, 1989); § the value of the knowledge of the context and habits of the population in order to imagine or build a future scenario of use. This allows to evaluate the impact of the project on the environment, on the users’ behaviours, and any indirect consequences, both positive and negative, in other contexts (Manzini & Mer- oni, 2009); § the importance of enhancing a trans-disciplinary view, typical of the design approach, which can link different research contexts to seek virulent synergies and foresee risks of worsening of the existing environmental conditions (Manzini, 2009).

THE THEMATIC CLUSTER FORMAT AT EXPO 2015

The exhibitions aimed at representing some countries were grouped by specific themes and hosted in one of the nine land lots, called Thematic Clusters, defined within the Expo Milan 2015 area. This format allowed event participation to countries that could not afford an independent exhibition space. Indeed, the Expo 2015 format of Thematic Clusters was aimed at promoting cooperation between participating countries, encouraging them to compare different cultural traditions and solutions to common challenges in the fields of agriculture, nutrition, and well-being. The Thematic Clusters represented one of the most innovative aspects of Expo 2015. Six of the nine clusters - Rice, Coffee, Cocoa, Cereals and Tubers, Fruits and Legumes, Spices – were grouped around food related issues, while three - Sea and Islands, Arid Zone, Bio Mediterranean – were dedicated to homogeneous countries for biodiversity. The architectural design of the pavilion facades and the open-air area between the pavilions in each lot were designed by professionals along with professors from the Politecnico di Milano1 - and later developed by EXPO 2015 - aiming to convey cluster thematic identity. Expo 2015 assigned the curation of in-depth exhibitions and communication of the big thematic contents to the main universities of Milan - and Naples for the Bio-Mediterranean cluster - determining an academic and cultural landscape as a local resource involvement, aiming to offer high-level contents to be integrated into the architectural and layout project of cluster spaces.

Figure 1: Arid Zones Cluster, common spaces views. Photo Credits Andrea Badoni and ZPZ Partners.

1 Project by Alessandro Biamonti and Barbara Camocini (Politecnico di Milano), Michele Zini and ZPZ Partners

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 9 Barbara Camocini, Luisa Collina and Mario Piazza

Design Culture as an Arid Zones Interpretation, a Thematic Context Rich in Resources and Issues The thematic contents derive from university results and could be extremely complex to understand, therefore Expo 2015 selected different graphic and visual design firms, in order to communicate to a heterogeneous audience. These contents expressed through visual communication tools were enriched by an immersion in the real environment invoked by large format photographic shots taken by famous photographers assigned to each cluster - e.g. Sebastiao Salgado for Coffee Cluster or George Steinmetz for Arid Zones Cluster. Expo 2015 considered – as stated in the agreement - that the Department of Design would have been able to achieve the best articulation of the content to be represented in the common area and possessed interdisciplinary skills to best develop the thematic contents in the exhibition, communicating effectively the main messages and engaging the public. The Department of Design of the Politecnico di Milano faced the challenge of developing the research on ‘Agriculture and Nutrition in the Arid Zones’, trying to recognize and highlight the contribution of the Design discipline to the proposed theme2.

Therefore the research, represented later in the exhibition, showed the wealth of Design resources and skills that have enabled - and still allow - the population of the Arid Zones to live in these conditions of emergency due to water scarcity. The contents of the exhibition were organized into three sections: 1: The Identity of Arid Zones, to detect issues and resources that strongly mark these areas, therefore considering the risks that are threatening them, such as desertification, or their richness in terms of biodiversity, trying to raise awareness so that this view may be expanded and reach the entire planet. 2: The Empirical Knowledge between Tradition and Innovation that has allowed life to develop despite emergencies and the scarcity of primary resources such as water, extreme temperatures and food (Lissoni, 2000). 3: The Nexus between Water, Food and Energy, reporting the analysis of the virtuous and sustainable projects in this area with the aim to highlight the mutual relationship between water, food and energy. A life condition for the planet because the intensive exploitation of one resource leads to the decrease of the other two (Garrity et al., 2010). The curation of the exhibition enabled to select heterogeneous project case studies including spatial interventions - on a continental scale too - and small product projects; from soil modification to the introduction of advanced knowledge that could alter the behavior of the inhabitants. The selection of projects was presented in the exhibition with explanatory panels containing descriptive texts, schemes or sketches of use, illustrating the operation or the use of the project/object, and photographs, to show the result and the impact of the intervention on the territory and on the population. This type of analysis and representation is a sort of reading in retrospect of the design process that helps to reconstruct a likely, or implicit, user-centered approach and a scenario-based envisioning of future use opportunities (Carrol & Rosson, 2002).

PROJECT STRATEGIES OF THE THREE DESIGN THEMES FOR THE ARID ZONES

The research allowed to focus on some of the major issues that affect the Arid Zones: desertification, water scarcity and the nexus between food, water and energy. They were presented in the exhibition through several case studies described by enriched communication systems with respect to multiple perspectives. A variety of illustrative tools was used for each design, in order to give information about their way and context of use, knowledge and issues concerning each one. This storytelling required a setting and identified one or more characters acting with the same goal. The scenario had a plot and the display of the exhibition aimed to show a sequence of events, a story. The user interaction scenario was presented through a sketch of use that was intended to vividly capture the essence of an interaction design, because a paper-and-pencil sketch captures the essence of a physical design more than other sophisticated tools of representation (Carrol & Rosson, 2002).

2 Research and curation of the exhibition ‘Agriculture and Nutrition in the Arid Zones’ by Luisa Collina and Barbara Camoci- ni (Design Department, Politecnico di Milano)

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 10 Barbara Camocini, Luisa Collina and Mario Piazza

Figure 2: Visual design to describe the research contents

The Desertification issue. Building on Local Existing Empirical Knowledge The definition of Arid Zones directly refers to the theme of desertification, the land degradation in arid, semi- arid and dry sub-humid areas (FAO, 2009). Although some studies have shown that desertification, together with global warming, have been caused by some geological reasons even in human absence, some good human practices can help to contain this territorial degradation, keeping mineral fertilizers within the soil, while safeguarding the period of rest of soil and trying to protect it from the erosion caused by the alternation of heavy rains and periods of water scarcity typical of these areas (Donald, 2005). Some case studies testify that many activities already in use in traditional and local culture can be associated with new technologies and enhanced to create effective and virtuous synergies to reduce the above mentioned process. One of the activities is aimed at enhancing acacia forests, a local development project started by some African nations in the 1980s. Acacia Senegal belongs to the Acacia genus and is widespread in the arid and semi-arid zones of Africa as it produces Arabic gum, which is true food-grade gum, as it contains no toxins (Harmand et al., 2012). Besides that, this small tree protects crops from rain and wind erosion, re- stores soil fertility being a good resource for subsistence farming as it intercrops well with sorghum and other grasses. ▪ Vallerani System. The above mentioned activity was further improved with the introduction of the Vallerani System, a modern plough technology which digs small basins in degraded soil to collect rainwater coming from the heavy rains typical of the Arid Zones, protecting water from evaporation. The system was patented in 1988 by the tropical agronomist Venanzio Vallerani and the model Delfino3 (launched in 2011) enables to dig shaped holes 5 meters long and 50 cm deep, every 2 meters. Each of these holes can collect up to 1500 liters of rainwater (Berrahmouni et al., 2016). ▪ Dew traps. Shaping land to create barriers or craters, channels or tanks, is a widespread technique in the Arid Zones. Indeed, the Vallerani plough applies a traditional know-how to mechanized farming in order to increase soil productivity while containing the process of desertification. Techniques like the Valle- rani System are based on collecting green water present in the atmosphere, which is the one obtained from rain and snow or dew. On the contrary blue water, which is in rivers, lakes and underground, is hard to find in the Arid Zones or has to be carried from long distances. Exploiting green water is an important element of sustainability as it does not deplete stored water resources, limiting the threat of environmental desertification (Malin Falkenmark, 1989). Indeed some traditional rural techniques in the Arid Zones involve a sort of landscape design creating damp depressions in the ground that collect the atmospheric night-time dew through the temperature gradient between day and night, that can reach 60°C. The erg oasis, for example, consists in creating artificial craters around existing crops to reach more humid soil and protecting it with barriers of palm leaves (Laureano, 1995). The principle of condensation is on the basis of the traditional methods of atmospheric humidity exploitation. Contemporary designers and companies are coming up with products made of non-traditional materials, with new aesthetic and functional features. An interesting project that has gained importance in recent years is the Warka Water, a big vertical structure, similar to a tree, which exploits the principles of gravity, condensation and evaporation to harvest potable water from the atmosphere, collect rain, harvest fog and dew. War- ka Water is a project and a program conceived to be led by the peoples of Arid Zones, thus providing both a landmark and a social focus place for the community, where people can gather.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 11 Barbara Camocini, Luisa Collina and Mario Piazza

Water Scarcity. New Tools to Reinterpret Existing Behaviours Water plays a crucial role in hydrating the body and in producing food. It has also an important place in human health and hygiene, struggling against infant mortality and defending maternal health. Indeed, in the international literature, Water, Sanitation and Hygiene are often interconnected topics named after the acronym WASH (Falkenmark, 1989). These issues were introduced in the Millennial Development Goals envisaged by the UN with an initial assessment deadline in 2015, date of EXPO Milan, within which some important achievements were obtained. In arid areas, these emergencies affect the daily routine of Arid Zones inhabitants, especially the weaker categories such as women and children. Photographic evidence, selected for the exhibition, showed how these devices, if widely applied, can modify the habits of the population involved in the experiment. Two types of solutions are reported here below to describe the importance of water accessibility: ▪ Design for water transportation. Water is usually carried by women and children in plastic jerry cans or canisters on their head. Several interesting projects have been tested to help carry water over long distances. The Q-Drum is one example, a cylindrical drum in the shape of a bin that can be used like a wheel and can be dragged along the ground without big efforts using a rope. The Q-Drum can hold 50 litres of water and can drastically reduce the impact on the spinal column. ▪ Design for water purification. A system of Solar Disinfection (SODIS) can be used to purify water through a combination of sunrays. A bottle was designed by Alberto Meda and Francisco Gomez Paz in 2006 to perform this process. It won the first prize at the 2007 Index Design Award. The bottle was made of PETG transparent plastic on one side, to capture UV-A rays, and aluminium on the other side, to capture infrared rays. The same process can be obtained in the African villages by placing simple plastic bottles on the corrugated sheet coverings of houses.

Water is Food. A multidisciplinary approach. The competition for water consumption between body hydration and food production is bringing a great challenge in the Arid Zones. The concept of water footprint has been introduced to evaluate this consumption. The water footprint of an individual is the total volume of water needed to produce goods or services consumed by the same individual (Hoekstra et al. 2012). The concept of virtual water (Tony Allan, 1998) refers to the volume of fresh water required to create a specific “product” - goods or services - measured as the sum of all water used in the stages of the production chain. It is essential to know the quantity of water consumed in food production, together with the sustainability of water sources, when assessing any kind of project in Arid Zones. ▪ Fish Farming. A virtuous case of consumption of fresh water to produce food is the Desert Fish Farm- ing in tanks of water destined for irrigation (or using brackish discharges from desalinization plants) involving two integrated production cycles. The characteristics for desert-farmed species are a low cost of nutrition, easy propagation, rapid growth and high rate of survival, resistance in various levels of salinity, etc. Waters enriched with organic material (fish excrement) also make excellent fertilizers for crops and can be used as drinking water for sheep and goats. Integrated farming and aquaculture began to spread in Egypt at the beginning of 2000 using concrete irrigation tanks. This case study introduces the importance of the Nexus approach, used to communicate the interdependen- cies between achieving water, energy and food security for human well-being. The conference ‘The Water, Energy and Food Security Nexus – Solutions for the Green Economy’ (Bonn, 2011) was the final step of a pre- paratory research and a starting point for the debate about the three supply securities - depending on ecosystems and on each other - that are growing in importance till today. This achievement has been a fundamental step from a sectorial to a cross-sectorial view introducing a systemic research perspective.

CONCLUSION

The three research topics displayed in the exhibition - soil consumption, water scarcity, water footprint of food - were presented through heterogeneous projects, many of which are different in intervention scale and impact on the Arid Zones. The research to define the exhibition contents was started with the aim of highlighting the emergencies and resources of the arid zones. In addition to this, the analysis made it possible to recognize some of the typical design approaches, sometimes even misunderstood or hidden in history and local culture, which allowed the success of projects in such emergency environments. This repertoire of interventions included several levels of complexity. If some projects, such as those mentioned in the first section, involved large spatial interventions linked to a profound knowledge of local history, those mentioned in the section about water supply concerned the widespread diffusion of small tools together ethnographic study of people behaviours. In the third section, instead, good practice was given in the sustainable use of primary resources, Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 12 Barbara Camocini, Luisa Collina and Mario Piazza linked one to another. This awareness to the sustainable use of water resources introduces some important issues defined by the United Nations as Millennium Goals. Compared to the Millennium Development Goals (MDGs), set by the United Nations with a deadline in 2015, the goals identified for the new 2030 expiration date - which increased from 8 to 17 - are confirming the importance of the process to achieve a goal. This change is also reflected in the new naming, Sustainable Development Goals, discussed during Rio + 20 Summit in 2012, where the addition of the word Sustainable shows a more ambitious perspective for contemporary and future projects. On this point, the exhibition 'Agriculture and Nutrition in the Arid Zones' has been awarded with the Class Expo Heritage Award for the legacy of the cluster in terms of contents beyond EXPO, in the new Global Objectives for the fight against hunger and thirst. Therefore, the new design guidelines require complex actions involving new partnerships, both government and individual contributions, that often require a political approach to management (Schumpeter, 1939). The future design scenario will increasingly include an impact in a variety of contexts, even disciplinary distant actions that need to be joined by a system of relationships. In this framework of intervention, the permanent emergency of the Arid Zones inevitably leads to a planning, an overall vision that considers it a global urgency; a new edition of the exhibition would probably require new case studies and more complex communication tools to represent the need to act jointly to tackle critical issues that are no longer limited but extend beyond territorial and disciplinary borders.

REFERENCES

Allan, J. A. (1997). 'Virtual water': a long term solution for water short Middle Eastern economies? (pp. 24-29). London: School of Oriental and African Studies, University of London. Berrahmouni, N., Laestadius, L., Martucci, A., Mollicone, D., Patriarca C., & Sacande. M. (2016). Building Africa’s Great Green Wall Restoring degraded drylands for stronger and more resilient communities. FAO 2016. Retrieved from http://www.fao.org/3/a-i6476e.pdf Donald A. N. (2005). Human-Centered Design Considered Harmful. Interaction Magazine, 12(4), 14-19. Falkenmark, M. (1989). The massive water scarcity threatening Africa – why it isn’t being addressed. Ambio v. 18 no.2, 112- 118. FAO (2009). How to feed the world in 2050. Proceedings of the Expert Meeting on How to feed the world in 2050. 24-26 June, FAO headquarters, Rome Garrity, D.P., Akinnifesi, F.K., Ajayi, O.C., Sileshi, G., Mowo, J.G., Kalinganire, A., Larwanou M., & and Bayala, J. (2010) Ever- green Agriculture: a robust approach to sustainable food security in Africa. Food Security 2: 197 – 214 Harmand, J.M., Ntoupka, M., Mathieu, B.,1, Forkong Njiti, C., Tapsou, J.M., Bois, J.C., Thaler, P., & Peltier, R. (2012). Gum arabic production in Acacia senegal plantations in the Sudanian zone of Cameroon: Effects of climate, soil, tapping date and tree provenance. Bois et forêts des tropiques, n.311 Hoekstra et al. (2012). The water footprint of humanity. Proceedings of the National Academy of Science, V.109 N.9 Krippendorff, K. (1989). On the Essential Contexts of Artifacts or on the Proposition That "Design Is Making Sense (Of Things)". Cambridge, MA: The MIT Press. Laureano, P. (1995). La piramide rovesciata. Il modello dell’oasi per il pianeta terra, Turin: Ed. Bollati Boringhieri Lissoni, F. (2000). La diffusione delle innovazioni. In Malerba, F. (Eds.), Economia dell’innovazione. Roma: Carocci Manzini, E., Jegou, F., & Meroni, A. (2009). Design Oriented Scenarios: generating new shared visions o sustainable Product Service Systems. Design for sustainability. United Nations Environment Programme, Delft University Technology Manzini, E. (2009). New design knowledge. Design studies, 30(1), 14-12. Rosson, M. B., & Carroll, J. M. (2002). Scenario-Based Design. In J. Jacko & A. Sears (Eds.), The Human-Computer Interaction Handbook: Fundamentals, Evolving Technologies and Emerging Applications. Lawrence Erlbaum Associates Schumpeter, J. A. (1939). Business Cycles: A Theoretical, Historical, and Statistical Analysis of the Capitalist Process, v. 1, New York: McGraw H.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 13

Temporary and Narrative Design Approaches for Fragile Urban Contexts

Barbara Camocini, a Barbara Di Prete, b and Agnese Rebaglio c

a Design Department Politecnico di Milano [email protected]

b Design Department Politecnico di Milano [email protected]

c Design Department Politecnico di Milano [email protected]

ABSTRACT

The design of places able to perform the needs of citizens and users of a territory and, at the same time, able to know how to express the values and potentials of the same territory, requires specific tools and processes for fragile urban contexts, at the margins, where discomfort and conflict are present. Cultural, professional and political debate around the regeneration of such contexts, often defined as urban suburbs, is crucial in Italy, as well as internationally and at European level. This paper intends to highlight a shared approach by some project actions, focusing in particular on the impact they generate in the short and medium time limit. Starting from two different film products assonance, it focuses on two possible models of design-driven intervention, supporting case studies of research and projects carried out in collaboration between universities and local or institutional actors. Case studies testify the effectiveness of urban space design models, here called Promo and Corti – Trailers and Short films - to enter into complex contexts, enhancing their identities and socio-cultural peculiarities thanks to a "narrative" attitude, in triggering processes of redevelopment and spontaneous re- appropriation, with actions that listen to the territory and involve it in retraining processes. The two approaches are overlapping and complementary, both of relevant importance in the urban regeneration project and in the redemption of its more marginal areas where imagery and imagination converge in the same space of hope.

Keywords: Urban Regeneration, Urban Suburbs, Temporary Adaptive Reuse, Short term Projects

SUBURBAN AND URBAN DESIGN

“The suburbs are the big project and the challenge of the coming decades. They are the city that will be”, (Pi- ano, 2015). The challenges at the center of Renzo Piano's reflection refer first to those situations to be cured, to places where there are urban but also social and relational fractures. Faced with these situations, there are many possible actors and levels of intervention, but certainly, an important role can be played by the design of public urban spaces. The project actions on urban spaces in remote areas aim to counteract physical degradation and social loss which, with varying degrees, still characterize the majority of European suburbs. The suburbs should not be seen only from a geographic point of view, only from the center distance meaning, literally carry around, they are rather portions of urban areas that often are situated into fringed margins of cities - between urban and natural environment, between cities and countryside, between cities and big infrastructures - but also as internal enclave, forming somehow cropped fields, separated by urban fabric, with more or less explicit margins, and provided with their own characters. Because, as Marc Augè says, if the “globalization is nothing more than the proclamation of a planetary space open to the free movement of goods, people, and

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ideas in a continuous space”, we actually know “a discontinuous world in which proliferate all kind of prohibi- tions” (Augè, 2009, p. 22), namely separations, distinctions, fractures to cure and to mend. The concept of suburbs thus goes beyond the spatial boundaries, going to identify the condition that “transforms someone into a stranger” (Zanini, 2000, p. 62), which works differently from the central city, with a different development rate, development of action and of life, which leaves back and outside: Banlieu and suburbs of European cities are not only materially distant from the center, but above all neighborhoods whose inhabitants are almost completely devoid of proper symbolic recognition of their belonging to the urbs, and for this, fully-fledged to the Civitas (Romano, 2008). The suburb is a multidisciplinary interest topic: understood from time to time as a border of research, social incubator or experimental lab, it is today considered above all as a place of innovation (Calvaresi, 2015). Around the suburbs, the theme of innovation primarily concerns the dimension of urban regeneration. Around the suburbs margins and the dynamics of innovation, numerous research programs, networks, and funding have been concentrated both locally and internationally. United Nations Agenda 2030 mentions among the Sustainable Development Goals the need for Sustainable Cities and Communities, i.e. making cities and human settlements inclusive, safe, resilient and sustainable. The program underlines the urgency of intervening in marginal situations due to uncontrolled development1. At European level, for example, the Urban Innovative Actions Initiative, promoted in 2015, aims to support highly innovative, even risky projects that would otherwise not be tested by administrations2. This approach promotes projects that are not only innovative but also shared and co-designed with local stakeholders, whose outcomes are measurable and transferable to other contexts. Even in Italy, the cultural, professional and political debate around the regeneration of suburbs is central. Two government funding initiatives are particularly new: the call for a social and cultural reduction of degraded urban areas (2015)3 and the extraordinary program for urban retraining and suburbs security of 20164. It is also recognized the work promoted by Senator Renzo Piano and his group G1245. The approach proposed by Renzo Piano is firstly the understanding of places, seen as a set of material and communities goods, to fully be ac- quainted with and to be investigated. From an operational point of view it supports the necessity to work for reconciling or mending intervention, i.e. with interventions aimed at restoring interrupted relationships, to restore broken wires in-between spaces or in contiguous spaces, through a very small project but able to trigger transformations and chain reactions that can affect a spatial and temporal wider scale. At the local level, in the city of Milan, it is recent (2017) the allocation of funds, by the City of Milan, to the urban and social redevelopment projects, designed to five historically problematic suburb districts, in which, interventions are going to be planned, which aimed at making these sites more vital, supportive, open to diversity and mutual contaminations of cultures, styles and social opportunities6. This initiative, called Bando alle periferie7, aims to subvert the traditional suburbs perception as a marginal territory, restoring buildings, squares, streets, but mostly working on perceptive, exclusionary and social marginality aspects, which often make peripheral even neighborhoods fully integrated into the urban structure8.

TIME-LIMITED NARRATION PROJECTS

The abovementioned programs, although with different tones, adopt a shared working approach for the urban interiors scale, with particular reference to those situations of fragility that we call suburbs. In this context,

1 https://sustainabledevelopment.un.org/ 2 Cfr. UIA Urban Innovative Action (http://www.uia-initiative.eu). It’s one of the various programmes and initiatives which are funded by the European Commission and which have an urban dimension (see: http://ec.europa.eu/regional_policy/index.cfm/en/policy/themes/urban-development/portal/) 3 DPCM of October 15th, 2015, with a budget of 194.138.500 euro for the three-year period 2015-17. 4 DPCM of May 25th, 2016, with a budget of 500 millions of euro for 2016. 5 The senator’s working group on the suburbs. The work group G124 take his name from the Senator’s office number at Palazzo Giustiniani, transformed into a research laboratory on the upgrading of suburbs of Italian cities. See: http://renzopianog124.com/. 6 The neighborhoods are: Giambellino-Lorenteggio, Corvetto-Chiaravalle-Porto di Mare, Adriano-Padova-Rizzoli, Niguarda- Bovisa and Qt8-Gallaratese. 7 This title is a play of words, where "Bando" means both "contest" and "stop" to the suburbs. 8 See "bando alle periferie” Comune di Milano, 2017. https://www.comune.milano.it/dseserver/webcity/garecontratti.nsf/WEBAll/DD1F95EAC6D56A5DC12581170045D4D7?o pendocument

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urban space design can play important actions with different temporal approaches that also involve different narrative approaches. The time issue, and in particular the short time and the temporary nature of urban interventions, is recognized as one of the key issues in the approach to urban regeneration: “the trend is emerging and is the early stages of analysis and theorizing. It signifies a shift from city-making through the construction of permanent physical fabric, to the emphasis on the city as a backdrop to activities, a laboratory for experimentation in a new way of being” (Bauman, 2012, p. 15). In particular, we recognize as a value two tested approaches on the city of Milan and its suburbs. The Milan suburbs, as discussed at the center of debates and local recovery programs, have features and peculiarities that really confirm them as places of innovation and experimentation. The two approaches share the short duration of the planned intervention but shall be distinguished by their purposes, forms and eventually for the meaning brought by the project to space and for the construction of different worlds. Through the translation from the movie language, we call these two approaches Promo and Corti, adopting the narrative structure of two audio-visual products as a metaphor for the spatial and temporal structure of the project9. We can talk about projects like Promo when projects are conceived to last a short time in order to demonstrate the potential of a space, to express how it can be used in the future, or to capture the interest of potential investors: like a preview or a trailer of what it will be (or might be) in the future. As a trailer, the space project temporarily transforms to test, to "taste", but also to promote and communicate it. In this regard, it works on assembling fragments, short sequences, even of dissonances, which are not required to comprehend global- ity. The experimental projects like Avanzi and Zip Spaces belong to the Promo category. However, there are other cases where the project has a limited duration, not because it intends to open an “on tomorrow window”, but because its function is termination planned. These are self-made cases, but they have assumed an already planned and designed end. For this, they could be assimilated to Corti, whose narration is accomplished, whose meaning is explicated in their short duration and that they have no relation to what comes after the word end. Belong to the Promo category the Fast Post Expo and Linear Piazza experimental projects.

Projects like Promo: The City of Milan between Avanzi and Zip Spaces Among the projects designed to show the potential of a space and to anticipate possible future uses, made to be short-lived, but specially staged to reveal hidden or forgotten potential, there are two types of research conducted by two groups of teachers from the School of Design of the Politecnico di Milano. The first is in collaboration with the Milan City Council and the Metropolitana Milanese company. In particular, the research has as its object buildings that have been emblemately called Avanzi - leftovers - to highlight the role of waste, their marginal dimension (in historical and symbolic but not quantitative terms) within the municipal building heritage. These architectures are economic value worthless, that would immediately make them appealing to the great businessmen, and they are also free from historical-artistic qualities that could make them be included among the cultural heritage assets, but also lacking in that timeless charm that makes a building product recognizable from a ruin. Abandoned, sometimes never ended, so far neglected by economic and institutional stakeholders, invisible even to the people who are used to seeing them as a urban landscape background, these voids are today hardly covered by a conversion program: they can not be immediately reintroduced into the construction market because neglected for too many years, and often without minimum regulatory or infrastructures requirements (installers etc.) that would guarantee their immediate use. However, these are buildings that are not structurally compromised and therefore allow temporary low-cost interventions that can bring them to occasional use, to show citizens and investors their potential capacity. In a virtuous collaborative process, Milan's public purchasers and universities have imagined new scenarios of use and are now organizing promotional activities (conferences, exhibitions, on-site real scale setup) to capture the interest of potential investors who actually want to bet on these places redemption. The buildings on which the first field trials were conducted are five at the moment, characterized by typo- logical, historical or functional features, but shared by the same fate. These are the former Scuderie De Montel in San Siro area; the old municipal warehouses in Vittorio Veneto; the building of via Sammartini, in recent years the seat of municipal canteens; the Water House, located in the

9 Much has been written about the relationship between architecture and cinema. Particularly interesting is the work of Giuliana Bruno and her reflections about the ability of cinema change / movement: "Cinema takes its name from the Greek term "Kinema", which connotes movement and at the same time emotion. [...] The cinematic space moves not only in time and space or in the development of narrative, but through the inner space. The cinema moves, and it basically "moves us". Bruno, G. (2002). Atlas of Emotion. Journey in Art, Architecture and Film. Milano: Bruno Mondadori

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Trotter Park; And the building of Via Pianell 15, for years frozen in a renovation that seems to have turned its scaffold into a cage more than in a service facility. All projects involving these buildings can be read through some common interpretations. For the need to reduce costs without abandoning the scenic component, these are strictly setup interventions: scene scenarios; internal facade that change the perception of the container without changing limits; modular, easily movable or transformable elements that provide multiple and reversible functionality that can also support different uses throughout the day; plays of lights, projections, sounds, which even in the intangibility can completely redefine the image of the place.

Figure 1: Two project images for the Building of Via Pianell, 15.

The second research carried out by the Design Department of Politecnico di Milano and titled Zip Spaces, took its name from the web platform proposal conceived by the researcher Rebekah Emmanuel, as an urban regeneration strategy in response to a call launched by the design firm IDEO. Zip Spaces – recalling the name of zip-car – can gather a number of dismantled interiors, specific shops with storefronts on a street, to be re- activated by short-term activities, applying the same format of Airbnb and referring to the current concept of the sharing city. The research project, based in NoLo, a district of Milan, has identified a repertoire of proposals for innovative commercial, crafts or business activities that build visions of possible future scenarios. NoLo - North of Piazzale Loreto – is one of the five peripheral area included in the recent plan of regeneration started by the municipality of Milan. Once, it boasted a concentration of small industries and high craftsmanship, typical of Italian production, while currently, it shows the effects of the Global Era, the delocalization of many activities, the closure of many retail stores, including local convenience shops, and the concentration of communities of migrants. Besides that, some new activities are renewing the identity of this urban area; some are linked to art – reflecting the current process of gentrification - others concern new trend topics such as health, sports and nutrition. The renewed activities identified within the research project were elaborated from the original ones through update, branching or hybridization strategies. The analysis of the NoLo neighborhood has been referenced by the local associations, the social district, as well as by interviews with residents, traders and artisans, and it has been enriched with relevant case studies. As a result, the design proposals were elaborated starting from the following four categories; historical artisanal activities; local convenience shops; food (traditional & new trends or local & foreign); art (music and historical cinematographic production). Subsequently, some projects for the temporary reuse of shop interiors were elaborated through light and reversible furniture systems, involving storefronts and mobile devices to be set outdoor, between public and private spaces. Two selected interior design projects represent in summary the characteristics of the obtained results. The project, titled Spotlight, combine tattooing along with upholstery, integrating them with enhanced reality devices. The interior design interprets the concept spotlight, making it physical and creating illuminated areas, refurbished and covered with decorative surfaces. The other project, Hybridus, concerns the production of means of transportation on wheels, such as bicycles or skateboards, hybridized with furniture. In this case, the interior design originates from a re-worked version of a bicycle frame, used as a main setting design device. These projects of temporary interiors represent an experimental lab that has been presented through an exhibition in the public market of NoLo in order to spread glimpses of a possible future, triggering a virtuous circle that can affect positively the entire neighborhood. What's common among these projects Promo is the search for a strong aesthetic and communicative impact, which makes them present again and live in the eyes of citizens and economic operators, communicating their visibility and potential.

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Projects like Corti: Fast Post Expo and Linear Piazza If Promo are called, first of all, to define new scenarios of use and reactivation perspectives for abandoned or under-used sites, in projects that we refer to in the Corti category, there are different design instances. In the case of the Corti, the projects refer to functional expressed needs and find an immediate feedback in short- term interventions; these projects are able to solve collective needs and are already planning their own end. Two examples of Corti are related to the design field during post big event events (Milan recently hosted one) and the presence of temporary urban construction sites. The term Fast Post Expo has been used to present the temporary reuse project of Expo 2015 site in Milan. It is a short-term intervention aimed to fill the temporal and spatial span between the end of the event and the final destination of the area, reducing the decay of the existing structures and helping people to keep the familiarity with the site gained during the six months of Expo 2015. Following the negative outcome of the call for the selection of a single actuator subject for the Integrated Plan of Intervention to be carried out in the Expo area, the joint venture company Arexpo SpA, defined a specific thematic direction, the Park of Science, Knowledge and Innovation. The project confirms the vocation for research, education and sustainable development of 2015 Universal Exposition and aims at an integrated and unified redesign of a strategic area. The processing of that intervention, however, requires around 10 to 20 years. The temporary conversion of use, Fast Post Expo, features an entertainment theme park, named Experi- ence, in operation during the summer months. The park attracted 300,000 people on the summer weekends of 2016. In 2017, the visitors' area has doubled to 400,000 square meters thanks to the dismantling and demoli- tion of the former national pavilions. The Fast Post Expo activities and the related types of spaces have been defined by researching case studies of conversion of use of areas similar to Expo site by type or size - such as the Tempelhofer Park, the former City Airport of Berlin transformed into an urban park - and temporary interventions aimed to the activation of some urban areas during the summer months.

Some categories of driving activities have been identified in: § Culture & Concerts: the original use destinations, such as exhibitions, events and concerts, of the Open Air Theater and the Palazzo Italia - two of the few permanent exhibitions of Expo 2015 - have been confirmed and have become attracting elements of the Fast Post Expo. § Children Camps & Sport Fields: lots previously taken by pavilions have become green areas spread on the site, now hosting a variety of activities aimed to entertain children during the summer months or sports activities for young and adults, or even delimited areas - Pet Paradise - for dog play. § Leisure & Food: temporary outdoor structures and food tracks are spread along the cardo and the decumanus, confirming the memory of the initial masterplan based on the two axial streets of the ancient Roman cities.

The working site and the dismantled pavilions, which are not accessible for safety reasons, define the new boundaries of the Experience theme park. During the next construction phase, the park could be integrated with references to the EXPO 2015 - Talking Ruins - and could help visitors know the building process - accessible working site. A similar Corto approach, but in a very different working site environment than Expo, has experimented in a neighborhood in the southeastern suburb of Milan. The central axis of the Giambellino, the name of the neighborhood, is severely interrupted by the yard for the construction of the fourth Milan metro line. The Line- ar Piazza project presented by Poli.Design – the consortium of Politecnico di Milano - to the City of Milan has proposed solutions to set up the perimeter of the area affected by the work, in its interface to the city: almost as a set, the project has graphically modified and hack into the bulkheads, with parasitic elements, which traditionally pursue a purely protective role.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 18 Barbara Camocini, Barbara Di Prete and Agnese Rebaglio

Figure 2: A prospective view about the Linear Piazza project in the Giambellino area in Milan.

The classical fencing - which has to meet the regulatory requirements, but seems indifferent to the visual fence of works - have thus become the subject of deep conceptual and design overturning. These modular panels bordering the yard from being a limit, that only has the role of hiding circumscribing and protecting, have become an opportunity for urban upgrading, fulfilling functional, but also symbolic and representative needs, to turn a hurt piece of urban, friendly and communicative.

CONCLUSION

The paper emphasizes how the temporal dimension represents a strategic vision and a specific character of contemporaneity: “temporary urbanism [is] a shift from city-making through the construction of permanent physical fabric, to the emphasis on the city as a backdrop to activities, a laboratory for experimentation in new ways of being” (Bauman, 2012, p. 14–15). The design does not evade the necessity - and the ambition - to build new welcoming, hospitable and identity public spaces, but, conversely, its projection horizon change allows it to engage in dialogue with all those economic, social, creative and representative difficulties that the city is facing today. The paper proposes an interpretive approach to the temporal dimension of the project and its ability to impress lasting signs in the city. We speak, in fact, of promo “as the necessary pre-condition to break rules and orthodoxies in order to find new, persuasive ways of regenerating deprived neighborhoods” (Bauman, 2012, p. 15), as strategies for anticipating visions and giving a new future to abandoned urban pieces. All the projects included in the Promo are united by the search for a strong communicative impact, which makes them able to capture the attention of the citizens: the surprise theme and recognisability appears to be the basis of these project actions because even before then telling new plausible and profitable uses, the Promo must lead the places out of that oblivion and invisibility condition in which they fall, returning them a potential identity. If we consider the Corti as tactics rather than strategies: “cheaper, easier to construct, and without the same legal consequences. It is used as a tactic, not a strategy, an end in itself, not as a means to something else” (Kossak, 2012, p. 32–33). Projects inserted in the Corti sphere require immediate efficiency and functionality, as they must offer a plausible answer to express and contextual needs; listening to the place and the ability to put in dialogue the various actors of the territory to propose immediately available solutions, are a peculiar feature.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 19 Barbara Camocini, Barbara Di Prete and Agnese Rebaglio

Figure 3: A schematic diagram about Promo and Corti projects, which is built through a project realization’s timeline.

Both categories are attributable to the widest Temporary Urbanism topic (Bauman, 2012; Kossak, 2012), and they represent an answer to the contemporary instances because both “bridge the micro-scale of the body and the personal and the macro-scale of global political economy” (Harvey, 2000, p. 51), however, the difference between them is substantial. Paradigms and project tools change along with expectations, because in short, the Corti seem to look (mostly) to the present, while the Promo are turning to the future: they have similar durations but projections and time horizons very different; If the first are working on the construction of a new urban image, the last look at a futuristic imagery.

REFERENCES

Augé, M. (2009). Che fine ha fatto il futuro? Dai non luoghi al nontempo. Milano, IT: Elèuthera. Bauman, I. (2012). Temporary urbanism – the stepping stones to placemaking. Urban Design Group Journal, 1(122), 14–15. Bruno, G. (2002). Atlas of Emotion. Journey in Art, Architecture and Film. Milano: Bruno Mondadori Calvaresi, C. (2015, n.d.). Rigenerazione urbana: un’agenda partendo da Milano. Retrived from http://www.avanzi.org/rigenerazione-urbana/rigenerazione-urbana-unagenda-partendo-da-milano. Harvey, D. (2000). Spaces of Hope. Edinburgh, Scotland: Edinburgh University Press. Kossak, F. (2012). Temporary Urbanism: its relevance and impact on teaching urban design. Urban Design Group Journal, (122), 32–33. Piano, R., & G124 (2015, October). Retrieved from http://renzopianog124.com/post/132661625903/piano-e-il-progetto- periferie-sbarcano-al Romano, M. (2008). La città come opera d’arte. Torino, IT: Einaudi. Zanini, P. (2000). Significati del confine. I limiti naturali, storici, mentali. Milano, IT: Mondadori.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 20

UX Design and Incluso App Development

Ana Filomena Curralo a and Sara Paiva b

a Instituto Politécnico de Viana do Castelo UNIDCOM/IADE [email protected]

b Instituto Politécnico de Viana do Castelo [email protected]

ABSTRACT

This article reflects recent developments regarding system-wide accessibility in mainstream touch-based smartphones. For the visually impaired and blind users, these technologies have been key for inclusion. This study addresses user experience design concerning a prototype for a mobile app targeting users with visual impairments. Creating such app required understanding and applying concepts from the digital universe, namely the concept of digital interface, wireframes, the concept and use of user interfaces, among others. The Incluso app aims to help the blind and visually impaired travel among points of reference, allowing greater autonomy in the use of public transportation in the city of Viana do Castelo.

Keywords: User Experience Design, Design for All, Blind, Smartphone, Touch screen

INTRODUCTION

Mobile phones have evolved from single-use communication devices to tools supporting a wide range of tasks. This includes web browsing, listening to music, text messaging, shopping, and so on. Smart phones allow their users access to a wealth of information and services through their extensive connectivity. In fact, they have the potential to empower people in everyday tasks. Since the inclusion of screen reading software such as Talkback or VoiceOver, modern touch-screen smart phones have become more popular near the visually impaired population. After the emergence of these services, mobile accessibility research has focused mainly on specific tasks, such as text input (Façanha et al., 2014), assuming the device and operating system have unrestricted access to the internet. However, we believe design should accompany technological innovations. In this sense, this article focuses on the development of user experience design applied jointly to an inclusive application. This application was developed by the students of the CTeSP in Information Systems Technologies and Programming and the course of Computer Engineering from the School of Technology and Management of the Polytechnic Insti- tute of Viana do Castelo. It was supported by the teachers of Design with the purpose of promoting social inclusion in the city of Viana do Castelo. The project also targeted introducing the academic universe to real issues and social responsibility, enhancing students’ awareness. It also introduced the students to scenarios where technology can be used to solve actual problems and help others by understanding their own needs. The group involved in this multidisciplinary project was constituted by 7 students (1 female and 6 male) and 1 teacher.

DESIGN FOR ALL AND APP DEVELOPMENT

Mainstream touch-screen device manufacturers recognize that people with visual impairments desire using touch-screen mobile devices. Android Talkback and IOS VoiceOver allow users to explore the interface elements by dragging their fingers around or performing a stealth and touch gesture sequence while receiving Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 21 Ana Filomena Curralo and Sara Paiva audio feedback (Chiti & Leporini, 2012). Universal access implies the accessibility and usability of information and telecommunications technologies (IT) by anyone, anywhere, anytime, with their inclusion in a living context. The purpose of design is to enable equitable access and active participation of potentially everyone in existing and emerging human activities through computer mediation, developing universally accessible and usable products and services, supporting environment-adequate functionalities. These products and services must be able to accommodate individual requirements of users in different usage contexts, regardless of location, target machine, or runtime environment. Hence, Design’s mission is to be present in the development of products for human diversity, social inclusion and equality. Designed through user-centred approaches, products may automatically challenge the range of human skills, abilities, requirements and preferences, providing appropriate alternatives. The origin of the DFA lies in the field of barrier free accessibility for people with disabilities and the broader notion of universal design. This term is used to describe a design philosophy for products, services and systems to be used by as many people as possible. In the context of new technologies, it aims to ensure that everyone can participate in the information society. Information and communication technologies (ICT) manufacturers and service providers aim to produce new technologies, products, services and applications for the largest possible target users. Also, considering inclusion and info-accessibility, products tend to be accessible without modifications, to be simple to adapt to different needs, and to use standardized interfaces, which may be easily accessed through assistive technology. It is a conscious and systematic effort to proactively apply the principles, methods and tools to promote universal design in computer-related technologies, including Internet- based technologies, thereby avoiding the need for further adaptations or specialized design.

USER EXPERIENCE DESIGN

UX or User Experience is a definition that is currently under discussed by several different authors with different views. In this sense, to understand the concept of User Experience, and to understand its importance, it is essential to consider the various underlying definitions and ideologies. According to Garrett (2011), user experience is not about how the service or product works internally, but how it operates from the outside, where the user comes into contact with the product or service. To be well designed, a product must do what it promises, or product design should be oriented by functionality. User Experience is vital for all sorts of products and services, and implies understanding potential users’ priorities and needs so they can be met, by implementing credible solutions. However, Nielsen (2012) argues that User Experience encompasses several necessary criteria of user interaction with the design proposal. To enable well-being, joy and satisfaction in using the service or product it requires attributes such as simplicity and elegance in design for satisfactory use by the users. The process of User Experience may be determined in different stages, and by the participants involved in the process. To conduct a viable experiment requires a composite of properties and aspects able to trigger this particularity. For example, an application developed targeting assisting the elderly with dementia involves actions performed by them as users, the surrounding space and the product, service or system in question may be able to offer experiences that have not yet been experienced by these users, offering new abilities and opportunities to interact with the outside world in an innovative way. According to the study developed by Roto et al. (2011), the process of User Experience requires accordance to properties and characteristics such as the environment in which it is inserted, the purpose of the application, the amount of time it may take until it is accepted and recognized, and the importance of the use by the elderly to allow a process/ relationship between the user and the digital support. Nowadays it is increasingly relevant to develop products or services that are able to reciprocate and offer the user moments and experiences that are captivating, stimulating, pleasant and aesthetically exciting. Subsequently, establishing what the user will witness and experience while enjoying the product or service - the user experience. Consequently, this particularity can be confused with usability. The particularities are objective, while the substance of experience is substantially subjective (Preece et.al., 2005). Usability is exclusively related to the good functionality of a product, service or system, having as its main objective, its good functioning, allowing good handling by the user without causing disappointment, disappointment or discontentment (Krug, 2006). Usability is thus referred to as the user’s ability to successfully accomplish a task and personal satisfaction. On the other hand, regarding cohesion with the product or service, User Experience (UX) only relates to user interaction and relationship concerning internal performance (Gar- rett, 2011). It is essential to emphasize that the user not only visualizes the engineering of the system but has the freedom to handle and control it (Roto, 2006). This author also argues that any system that does not allow user control does not define UX parameters (Roto, 2006). Therefore, the concept of UX comes together with usability.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 22 UX Design and Incluso App Development

UX is characterized by responses and perceptions resulting from handling the product, system or service. UX includes users' perceptions, emotions, references and behaviours throughout the various stages of use. This is determined by various parameters such as functionality, performance, experiences, attributes, interactivity and function, through use. User Experience is defined based on the satisfaction or frustration that the user will feel and witness while interacting with the product, system or service, responding positively or negatively. The user experience is determined by the various steps and participants involved in the process. To accomplish a feasible experience, it is fundamental a compound of properties and aspects able to trigger this particularity. From actions carried out by the user, the surrounding space inserted and the product, service or system in question. According to the study developed by Roto et al. (2011), the User Experience process has properties and characteristics to follow, namely the context of use has physical aspects (surrounding environment, external noises, task to perform (purpose, time, importance of use) and socio-cultural factors (rules, beliefs, fashion, language). There is a process/ relationship between the user and the system. We may argue the user is affected by momentary aspects (feelings, emotions, moods, will), predispositions and characteristics (personality, experiences, principles) and limitations and skills (communication skills, sensorial senses) while the system encompasses differentiating characteristics, highlighting its efficiency, simplicity, adaptability and purpose, all determined by the user through usefulness, originality, complexity and reputa- tion.

INCLUSIVO APP DESIGN STAGES

To develop any mobile application, it is important to take into account that this digital tool will require intuitive, useful and effective navigation system, as the end user has a goal and a purpose at the moment of pur- chasing and using it. According to Krug (2006), navigation is one of the most important areas in user experience. Navigation is a tool composed by several structural elements, such as pagination (previous and next but- ton), links, help texts, buttons, etc.; these elements allow the user to move within the application, creating an accessible and objective man-machine interaction. This way, navigation is a system constituted by guidelines of structural organization and alignment. Navigation may be considered information architecture, allowing easy exploration of the different contents inserted in these digital tools, not causing the user feelings of frustration and disappointment (Krug, 2006).

Description of the Incluso Application The application aims to promote autonomy and social inclusion in the city of Viana do Castelo, with two main functionalities. On the one hand, it helps the displacement between reference points. These points were referenced by the Viana do Castelo members of the Portuguese Acapo Association for the Blind and Amblyopic (ACAPO). They identified the main ones for a first phase, allowing users to receive instructions on how to reach a given location. The route suggested to the user was carefully designed, avoiding dangerous places and using streets with GPS coverage. On the other hand, the lack of autonomy in the use of public transport is also solved with this application. Previously, users easily lost track of where they were along the route, and therefore could not autonomously ask the driver to stop the bus to leave, depending on third parties. With this application the user hears several messages along the route, indicating the place being travelled, and therefore enhances autonomy in the use of public means of transportation. The target users for this application are the blind and partially blind population, of any age, living in the city of Viana do Castelo. Most of them are ACAPO members, but the application dissemination is expected to increase in volume and variety of users (the elderly, tourists, temporary students, etc).

Logo and Digital Icons The Incluso logo (Figure 1) represents a dynamic, energetic service, operating in the technological sector. The brand logo also displays a simple, effective and direct representation as main visual representation of this service. Creating this visual image was based on a waypoint representing a specific point in the planet, precisely a place defined by geographic coordinates through GPS system. The interface and location symbol is delineated by a circle that represents the exact location.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 23 Ana Filomena Curralo and Sara Paiva

Fig.1 Incluso app logo Fig.2. Incluso app icons

Colour is considered a crucial element in the visual identification of a brand or service, with the strategic objective of identifying and characterizing its recognition by the users. The predominant colour used in the construction of the application is light green. Green was chosen due to the association with living nature, development and renovation, making the app more attractive. This background colour is part of the group responsible for forming colours across the spectrum of visible colours, and the black along the shapes provide a good contrast. Digital icons, also referred to as physical or virtual buttons, are function holders. Hence, they are designed and developed to create the interaction of services and/or products in order to present answers to the use as well as to their way of operation. These visual elements have the main purpose of supporting their uses directly and unequivocally. All these elements are accompanied by a sound message. Icons are omnipresent in almost all layouts/screens, and are important for visual communication and a better orientation towards exploring and using the application. The construction was based on the silhouette of the different information icons, in order to integrate perfectly with the rest of the application design. The typographic family chosen for the display was Helvetica Neue. It coexists harmoniously with the logo and affords good readability to the text, completed with Bold, Regular and Medium versions. The App was designed to be perceived as user-friendly by all potential target-users. According to Donald Norman (2004), in his work Emotional Design, attractive products work better, because when design brings pleasure, mistakes are not so valued. In this study, it was fundamental to create an icono- graphic system adapted to the specific service in question. Hence, easy understanding was most valued, along with intuitive operation by people with visual limitations, to allow quick and accurate perception and action. Navigation The application was initially developed for Android version, and is accessible in the Play Store, for those who may wish to use it. The application can be used anywhere, although it will only give useful information to someone located in the historical centre of Viana do Castelo. The application Incluso is fully integrated with Talkback, a feature that all visually impaired people are accustomed to using and normally carry in their Smart phones.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 24 UX Design and Incluso App Development

Fig. 3. Example of start menu: Pedestrian mode and Fig. 4. Pedestrian module: displaying different possi- bus mode. ble destinations to chose from.

The start menu shows the two main functionalities: a) pedestrian mode and b) bus mode (Figure 3). In pedestrian mode, this solution allows users to move between six reference points in the city: the interface where the bus stops, the headquarters of Acapo, the Municipal Library, the Treasury, the City Hall, and the Health Centre (See Fig.4). The visual representation is accompanied by a sound message. After selecting the destination, a map appears on the screen with the name of the street where the user is located, starting the desired route in the convergence of the visual auditory communication (See Fig.5)

Fig. 5. Example of a message sent to the user, indicat- Fig. 6. Example of message sent to the user while ing a crosswalk: "Reaching the crosswalk to the inter- inside the bus, indicating a spot to his right. It may face” translate the following: "On the right is---"; “Next stop is---”.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 25 Ana Filomena Curralo and Sara Paiva

Concerning the bus module, the user can only connect to the App while aboard the electric mini-bus. Circu- lating through the historical center of Viana do Castelo, as long as the user is on route or inside the minibus, the application will indicate where he is. A sound message is sent to the user as he crosses each spot, allowing a sense of direction and orientation along the journey (Fig. 6). When the user leaves the bus, the application indicates it is not possible to contact the minibus’ route. The users suggested it would be useful at this point for the App to identify their current location and offer indications to reach their respective destination.

FINAL CONSIDERATIONS AND FUTURE WORK

This project was developed in an academic environment, with the participation of the ACAPO association for the blind and amblyopic, allowing the survey of user needs. In the first stage, it targeted the development of a mobile application to assist people with temporary or permanent low vision and blindness in travelling walking distances within the historical centre of Viana do Castelo. It was an open process, including the autonomous use of buses circulating in town, knowing the exact location through predetermined set points such as the Treasury, the Library, or the City Hall. After identification of the problems faced when travelling through the city: stairs, steep steps, holes on the sidewalk, the best route was analyzed and established together with the users. The path was set through GPS coordinates (See fig.7). To test the App on the field, during the development stage, the students performed the travel distances blindfolded, to allow them the perspective of a blind or amblyopic citizen, and subsequently implement changes/enhancements to the App. Simultaneously, the design group developed the UXD study, resulting in the present article. Throughout the study, several parameters emerged for the application of design principles as well as the relevant usability attributes. These include typography, colour, perception, emotion, navigation, user experience, intuition, content and informational coherence. Accordingly, the introduction of UX in the mobile application development process defines a sequence of interactions between the user and navigation in order to respond to the user needs by interactive means, enabling the achievement of the user’s purposes concerning the mobile application. The use of UX rules enables optimal solutions with an appealing and simple appearance, with no unnecessary functions and rejection by the user. This project revealed the importance of the aesthetics/usability balance. More specifically, if we value mostly aesthetics in a mobile application, this weakens its usability making it expendable. On the other hand, if we focus exclusively on usability, the design of the application does not positively convey the emotional and creative factor to the user, which may decrease the frequency of use. The next step is to extend the use of the App from inside buses onto the wider public transportation services connecting the city centre and the periphery, where most of the actual users live. Presently, we are also testing the layouts and wireframes for users, since the paramount aspect of this App is to have a positive impact on the autonomy, self-sufficiency, sense of direction and geographic location, thus improving the quality of life in the city for all citizens with a disorder of sight and blindness.

REFERENCES

Chiti, S. & Leporini, B. (2012). Accessibility of Android-based mobile devices: A prototype to investigate interaction with blind users. Computers Helping People with Special Needs: 13th International Conference. 607-614. Croxford, S. & Rundle, C. (2013). Blind people and apps on mobile phones and tablets - Challenges and possibilities. In Pro- ceedings of the International Conference on Ergonomics & Human Factors. (pp. 343–346). London, England: Taylor & Francis. Norman,D.(2004). Emotional Design: why we love (or hate) everyday things. New York: Basic Books Façanha, A., Viana, W., Pequeno, M., Campos, M., Sánchez. J. (2014). Touchscreen mobile phones virtual keyboarding for people with visual disabilities. Human-Computer Interaction. Applications and Services, 134–145. Garret, J. (2011). The elements of user experience. Berkeley: New Riders Press. Krug, S. (2006). Don´t make me thik: a common sense approach to web usability. California: New Riders. Nielsen, J. (2012). The definition of user experience. Rerieved from http://www.nngroup.com/articles/definition---user--- experience/. Preece, J., Rogers, Y., Sharp, H. (2005). Design de interacção: além da interacção homem-computador. Porto Alegre: Book- man. Roto, V. (2006). Web browsing on mobile phones – characteristics of user experience. Finland: Helsinki University of Tech- nology. Roto, V., Law, L., Vermeeren, P. (2011). User experience white paper: results from dagstuhl seminar on demarcating user experience. Rerieved from http://www.nngroup.com/articles/usability-101-introductionto.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 26

Mutual aid: As an evolutionary process of cooperation in design to achieve simplicity

Carlos A. M. Duarte a b

a IADE, Universidade Europeia, Laureate Universities, Lisbon, Portugal [email protected]

b UNIDCOM/IADE Lisbon, Portugal

ABSTRACT

Darwin’s theory of evolution is built in the adaptation of the strongest to the continuing of time and space. For Philip F. et all (2008), the natural world is full of wonderful examples of its successes - evolution is Nature’s design process. From engineering design feats such as powered flight, to the design of complex optical systems such as the mammalian eye, to the merely stunningly beautiful designs of orchids or birds of paradise. With increasing computational power, we are now able to simulate this process with greater fidelity, combining complex simulations with high-performance evolutionary algorithms to tackle problems that used to be im- practical. For other’s authors, such Whyte (2007), evolutionary theories could be used in further research that seeks to understand the mechanisms through which innovative products are developed across a design family. But over two years after the publication of Darwin’s theory, Pyotr Kropotkin tends to agree with it, but he presents another factor of evolution based in mutual aid (as in cooperation) and that, strange as it may look, this concept of cooperation as an evolutionary factor is not yet cultural. To Kropotkin (1902), to all of us, its an evidence that the species with higher success are those where the capacity of cooperation of their individual beings is higher. This very important principle must be adopting by the designers to become more involved in solving the world's problems, where dealing with simplicity and the complexity becomes paramount. So, mutual aid or cooperation is a “complexity motor” for Design (Duarte, 2013). Cooperation is the most advanced method of evolution, besides, this is how brain evolution was realized, but the curious was that it didn’t happen only in born beings, but happened too in manufactured beings. This paper shows us a new perspective about evolution process and requires a paradigm shift for the practice of design. To move from thinking about the world as Charles Darwin encouraged us and your evolutionary approach, to adopt the concept of mutual aid, propose by the Russian prince Pyotr Kropotkin, as a cooperation evolutionary process in design to create better products and services.

Keywords: Design; Mutual Aid (Cooperation); Evolution; Complexity; Simplicity.

INTRODUCTION

The new society exists and it changes itself. In Engineering and Technology evolution has progressed along two axes: 1. Complexity rising; 2. Easiness in using.

Today, we allow ourselves a diversity of solutions, incommensurably more complex, that induce great easiness in the use of our daily activities. As an example, let’s see the telecommunications evolution, in particularly that of the telephone in their different existences. And if before they were big, driven by crank and latter by disk and commuting was based in rudimentary technology such as relays and, afterwards, by valves. People experienced great difficulty in usage. For example, they would have to know exactly were would the needed digit was so to insert the finger in the correspondent hole. Connections depended on central tele- Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 27 Carlos Duarte phones with low technological complexity but with a raising difficulty in usage and handling. With the transistor invention in 1947, by American physicists John Bardeen, Walter Brattain, and William Shockley, the telecommunication equipment’s suffer a significant reduction either in size either in weight or space, and switching, was to be made in a different way, with Engineering, let us say in a more demanding and advanced way. But it was not only engineering that was changing to easy up the telecommunications access while having a keyboard with ten keys with fixed positions, fixed compositions organized by three digits’ sets “1-4-7”, “2-5-8” and “3-6-9” besides “0” featured relatively to all other digits, as so allowing easiness in usage. But when we look at microprocessor evolution we see a huge increment in usage easiness accompanied by a much more sophisticated technology, that brought us to the functions without fixed connections. In fact, today they fit in our palm and connect people all around the world. They have more functionalities and applications, with messaging services, games, radio, internet, MP3, photographic camera, navigation systems, among others, and with the continuing microprocessors evolution, in the sense they incorporate each time more transistors, one can easily foresee that new solutions can be in short term introduced. We are sure, communications devices of the future will be thinner and lighter and naturally with more complexity, along side with easiness usage as a direct consequence of engineering and design. Well, as designers become more involved in solving the world's problems, dealing with complexity becomes paramount. So, today we live in a more and more complex world in which the growth of management of a huge number of electrons, clients, central and auxiliary computers, station distributors, etc. Take unknown shapes. Has being happening in a symbiosis between human beings and fabricated beings. Let us notice, each time, we (to be born) learn how to manage humans (to be born). We transfer the same knowledge to the non-human (be manufactured), silicon beings (be manufactured) and allow them (be manufactured) each time more operational prerogatives, as example, a control room create by Planar (figure 1).

Figure 1 – Control room create by Planar (http://www.planar.com/).

Leading corporations, governments, broadcasters, utilities, security and traffic authorities rely on Planar control room display solutions to monitor their networks, identify problems and drive to quick resolution. Navigating through big data, multiple IP or analog video streams and computer sources around the globe requires the latest video wall and image processing solutions, whether the control room is for 200 operators working for a telecommunications firm or three engineers smoothing out an oil and gas pipeline. So, what is being learned through non-human (be manufactured), it’s transferred again to those (be manufactured) beings to allow humans (to be born) new tasks to add. We can easily verify that there is an ongoing transfer of knowledge from born beings to manufactured beings, to allow humans new tasks to add. This is a description of our present time a new society exists and it changes itself, but unfortunately it is not being social build, but this is not we are about to deal with what we are about deal is. It is the fact that non- humans (be manufactured) are building up the horizon line and the soil over which new society (born + manufactured) are emerging. In this context, the main question is: what will be the role of designers, what are their behaviours and scenarios for these new society and what will be the decisive factor for evolution?

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 28 Mutual aid: As an evolutionary process of cooperation in design to achieve simplicity

MUTUAL AID: ANOTHER FACTOR OF EVOLUTION

Zeratsky (2016) identify eight common dysfunctions of design teams. However, the designers on these teams are invariably talented, smart, and hard-working, but having great designers doesn’t guarantee great teamwork. How to change this type of behaviour in that new society between human (designers) and non-human (be manufactured)? It’s within this symbiosis that we have to study new behaviours in it’s limits, either is: • Organic and functional; • Or chaotic. So we have to establish the conditions that lead to one or the other case. Of course that to establish those conditions we human or designers have been oscillating between those who say that “God plays dice” and those that grant and state that, as Einstein “God does not play dice”. Which is only natural for someone who practices a Monotheist Religion, such as Judaism. God is the more simpler there is, because He is the unit, it has no single parts, in what He was joined by Al- berto Caeiro, one of Fernando Pessoa’s heteronyms, in “O Guardador de Rebanhos – Poema XIV”:

I do not mind about rhymes. Seldom there Are no trees alike, one beside the other. I think and I write as flowers have colour But with less perfection in my single way of expression Because I miss divine simplicity Of being solely my exterior.

I look and I get moved, I get moved as the water flows through when the soil is tilt, And my poetry is a natural as the raising wind…

And here is why the path to simplicity is a permanent ambition. This ambition leads us to evolution, but to evolve in the sense of each time more complex systems, take into account the previous telecommunications example. We are right, more research is needed on the applicability and limitations of evolutionary theories for understanding design families in complex system industries. There are two known methods, the first, as we all know, is cultural: Darwin’s evolutionary theory. The other one is seldom referred: the theory built in mutual aid from Pyotr Kropotkin. Darwin’s theory of evolution is built in the adaptation of the strongest to the continuing of time and space, but over two years after the publication of this theory, Pyotr Kropotkin tends to agree with it, but he presents another factor of evolution based in mutual aid (as in cooperation) and that, strange as it may look, this concept of cooperation as an evolutionary factor is not yet cultural. But let us listen to the Prince about evolution (mutual aid): • It’s not love, nor heaven sympathy that induces a herd of ruminants or herd of horses to create a wring as to resist wolves attack… • It’s not love that induces wolves to gather in a pack for hunting… • It’s not love that induces kitten or lamb to play, or a dozen different species of birds to gather in fall… • It’s a feeling infinitely much more broad than love or personal sympathy… • Un instinct that slowly as developed among animals and humans in the course of a slow and major evolution that thought animals and men the difference that practical help and mutual support bring and the joy that overcomes from this.

To Kropotkin (1902), to all of us, it’s an evidence that the species with higher success are those where the capacity of cooperation of their individual beings is higher. Let us make an evolution simulation a La Pyotr Kropotkin: if each of these elements, represented by numbers (figure 2) would represented a being, let’s make the exercise of making these beings to interact, witch is hereby represented by the white line.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 29 Carlos Duarte

Figure 2 – Number of interactions between be- Figure 3 – Analytic description for the interpretation of ings. emerging behaviour.

In fact, for the same number of elements when the number of interactions increases the size of elements connected to each other also increases. Building a graph in which the ordinates picture the size of the larger agglomerate and on the axis the reason between the number of interactions and the number of elements (figure 3). So, as the number of interaction grows the size of the bigger elements modifies, and, according to the lo- gistical curve, we can say a state changing has occurred (Rodrigues, 1989). We can say a state changing has occurred because, in fact and for instance, it’s not possible to explain the properties of ice from the properties of liquid water. In systems, every time there is a behavior changing that is not reasoned by the previous systems behavior, we say there is place for emerging behavior. So, raising the number of interactions is the key to what is new. So, cooperation is complexity motor. Co- operation is the most advanced method of evolution, besides, this is how brain evolution was realized (figure 4), but the curious was that it didn’t happen only in born beings, let us see what happened in manufactured beings. Each time transistors cooperate more and more between them, and the number of silicon beings cooperating has been growing according to a foreseen trajectory that has been called Moore’s Law (figure 5).

Figure 4 – Human brain evolution Figure 5 – The Moore’s Law (http://www.evoanth.net/wp- (http://1.bp.blogspot.com/-qvM0lVSukpQ/T- content/uploads/2016/10/F3.large_.jpg). BMT1vwU2I/AAAAAAAAACM/kO- X5fM6YsI/s1600/mooreslaw.gif).

If we study the graphic (figure 5) in detail, we can see that the transistors number has duplicated every 18 months, and always maintaining the same costs, as you can see, all manufactures, with very little difference, are in the way to engineering and technology, which, according to our definition corresponds to raising complexity. But, if we really want to be sure that the most advanced method of evolution is based in cooperation, as defined by Prince Kropotkin (1902), take a closer look. If at this evolution, three of manufactured beings is not, in all aspects, similar to that from born beings, but let us bear in mind that complexity by itself is not enough, it’s not enough to evolve, besides, all of us know institutions, built by human beings and by manufactured beings where the raising of complexity generated such complication that they became chaotic institutions. Coming back to telecommunications example where complexity by itself is not an evolutionary factor. On

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 30 Mutual aid: As an evolutionary process of cooperation in design to achieve simplicity one side be have the important role of engineering and the introduction of advanced technologies, but design was also decisive to better usage replacing dialing to pressing buttons.

For many, glasses where even needed, without ever forgetting the importance of that this factor itself mean to visually disabled people. But let us remember that what we want to establish are the conditioning to get to emergent behaviours, as to be organic and functional or chaotic. If we now take a look (figure 6) at surely looking at the telecommunications graphs, we can see not that simplify complexity and if we also look at the graphs in brains (figure 7), we also see simplicity.

Figure 6 – Example of the telecommunication’s graphs. Figure 7 – Example of the Brain’s graphs.

The connections raising is not massive, but with graphs fixing the produced entropy will be minimal. Then, the key to raising complexity is minimal entropy and it was given to us in 1870 by Claude Bernard (1813-1878) (1957) who described in 1870, how the better organization and functionality of systems can be linked to Sim- plicity, and founder of physiological medicine, which he described as “a free and independent life requires the constancy of internal environment”. We know its true to human beings. If we are in good health this means a great simplicity. We don’t need analysis, x-rays, angiograms, MRI’s, ultrasounds, etc. Naturally generates an organic and functional running, but if on the contrary we are sick, this is a major complication. When we let complexity became a complication the system collapses and dies. This being a fact, then it would be good if we where able measure simplicity, not of theories, but of physics, chemistry, biology, engineering or design in presence, of course this has not been easy, what we really need, is a parameter, in which we follow and comply with simplicity and we don’t have to be shy because simplicity is something we all know what is until someone asks about it, like space, time or information. Simplicity we all know what it is until someone asks us about it. Simplicity, as commonly understood, is not an easy thing to describe, much less to comprehend. What is taken as Simplicity is an undetermined number of concepts to explain what supposedly Simplicity is. From John Maeda it’s clearly known that the study of what is Simplicity is central to Design and Engineering (Maeda, 2006).

CONCLUSIONS

The social and economic impact of the mutual aid in society is a reality in part due to the progress in information systems and in particular, telecommunications, in its most recent shapes, internet, television, computing systems and mobile phones. However, a new challenge arouses in the digital era, related either to Design, Engineering, or Technological level employing, which consubstantiates with the need to attain Simplicity, either to contents, either above all to the drawing of the related interfaces. Actually Simplicity is also a quality that not only arouses the passionate devotion for a product aesthetics and design, but also became a strategic key tool to allow business to confront their own complications (Bernard, 1957). So we can state that Simplicity is something we all long for… For example, to refer to the un- questionable commercial success of Apple’s iPod – a device that has less functionality than others available in the market with the same function: a digital music reader. People want and prefer products they can use with simplicity. Has referred, the first time someone describes how things are in fact simplicity-related was, back in 1870, Claude Bernard (1957). But simplicity as usually referred can be everything but simple. In that view, the essence of the meaning of “Simplicity” is not one of easy understanding in the way it has been, so far, descripted. The common knowledge is that there are undetermined number of definitions to

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 31 Carlos Duarte explain what effectively is Simplicity. That “Simplicity is relativist”, as an example of “easiness”, of “difficult- ness”, of “information”, or “complexity”, among others, are issues of each one measurements. As a system of believes it will always be associated with the observer. Today, the request is to know how to communicate with simplicity, with clarity, interest and repetition, if thus is necessary, to achieve that the main principals to transmit are understandable (Kotler, 2000). In conclusion we dare state that if we were in the presence of a philosopher he would say that the true definition for simplicity would be: it exists as to make sense within the world that surrounds us, depend of the cooperation or mutual aid, as the most advanced method of evolution, shared and in cooperation, between living beings and manufactured beings, with the support by Design and Engineering, as a standard evolutionary for the new society in accordance with the principle of least effort (Zipf, 2016) in which the designers teams working in cooperation will be the key to our survival.

REFERENCES

Bernard, C. (1957). An introduction to the study of experimental medicine: Courier Corporation. Duarte, C. A. M. (2013). Measuring Design Simplicity. In D. Coelho (Ed.), Advances in Industrial Design Engineering. InTECH. Hingston, P. F., Barone, L. C., & Michalewicz, Z. (Eds.). (2008). Design by Evolution: Advances in Evolutionary Design. Springer Berlin Heidelberg. Kotler, P. (2000). Administração de marketing. São Paulo: Prentice Hall. Kropotkin, P. (1902). Mutual Aid: A Factor of Evolution Retrieved from https://theanarchistlibrary.org/library/petr-kropotkin-mutual-aid-a-factor-of-evolution#toc10 Maeda, J. (2006). The laws of simplicity. Cambridge, MA: MIT press. Rodrigues, F. C. (1989). A proposed entropy measure for assessing combat degradation. Journal of the Operational Research Society, 789-793. Whyte, J. (2007). Evolutionary theories and design practices. Design Issues, 23(2), 46-54. Zeratsky, J. (2016). 8 Common Dysfunctions of Design Teams — And What to Do About Them. Retrieved from https://http://www.invisionapp.com/blog/common-dysfunctions-design-teams/ Zipf, G. K. (2016). Human behavior and the principle of least effort: An introduction to human ecology. Ravenio Books.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 32 Using UX Techniques in the Game Design Process: Practical Approach of The Initial Phases of a Project

Willyan Schultz Dworak a, Ivan Lucas Paz a and Ernesto Vilar Filgueiras a b

a LabCom.IFP of Faculty of Arts and Letters of the University of Beira Interior (UBI) {wyworak, ivan.lucas.paz}@gmail.com

b Centre for Architecture, Urbanism and Design (CIAUD) at the Faculty of Architecture, University of Lisbon (FA/ULisboa) [email protected]

ABSTRACT

In order to find an optimized way to develop games, a comparison between using game design’s technique only and user experience’s techniques along them was established. The player’s importance in the project was observed, because he is present in almost all stages of the developed process, since public comprehension, to the aid that lead us in the execution of the evaluations that will determine the process’s path. Even though the game design and the user experience can be used in separated ways, it was noticed that using them both will result in an enhancement to the project.

Keywords: UX Techniques, Game Design, User Experience.

INTRODUCTION

A digital game project, regardless of its investment or the company’s size, is done by a process which involve different proficiencies that requires professional involvement of many aspects (programming, art, music, sales, and etcetera). Such diversity, which is rich environment in experience and perspective variety at first sight, could become a great obstacle when creating the project’s identity. The game design is the force responsible to unite heterogeneous ideals and converge the people’s effort with different skills.

Game Design The game design is the force responsible to unite heterogeneous ideals and converge the people’s effort with different skills. According to (Sylvester, 2013) the game design’s function is to assemble the pieces of the game project and make it feasible, through guidelines. “GAME DESIGN isn’t in code, art, or sound. It’s not in sculpting game pieces or painting game boards. Game design means crafting the rules that make those pieces come alive”. It can be understood that the game design’s rule is to ensure that the project’s guidelines will be met by all people involved in the development process. Many techniques and tools that can be used to aid the project’s organization, communication, development and even in the project’s elaboration thereunto. This content diversity should not be faced as a rule, since it fits to the game designer to comprehend which ones benefited the project and the most suitable moment to apply them. Most of the game design’s related research propose to enhance the game project’s organization, elaborate techniques that aids or realizes the game designer’s function. Its focus is not pointed to the player’s experience. Although (Schell, 2008) says that it is up to the game designer to understand its public in order to prepare the games’ rules in a way to fulfil their needs and preferences, the same author makes clear that a game designer is not capable to control the experiences that the game is going to generate while the player is taking

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 33 Willyan Schultz Dworak, Ivan Lucas Paz and Ernesto Vilar Filgueiras part in it. “We cannot create experiences directly. (...) where all we can do is create artefacts (rule sets, game boards, computer programs) that are likely to create certain kinds of experiences when a player interacts with them”. The game designer projects rules that will be incorporated by the artists, programmers, animators among other people involved in the development, so they can create some aesthetics in the public. It should be pointed that the focus of the game designer’s process is trying to design the user’s experience before and during the project’s development process, therefore the used techniques ends up being prior to the first interactions with the users. (Schell, 2008) explains that the playtesting process occurs after the programming and artistic development’s steps. He explains that this is necessary since the test players should have in their hands a version with the identity of the different departments of the projects, in order to verify (consciously or unconsciously) not only whether each element is functional, but whether the communication between these elements (art, mechanics, sounds, difficulty, and etcetera.) occurs in an organic and natural way. Despite the answers of this project aids in understand if the project’s goals where reached, any alteration due the tested public’s dissatisfaction or observations entails in loss to the project, both in financial matters and in terms of changes in deadlines and professionals’ reallocation.

UX – User Experience If on the one hand the game design related processes are directed to the construction of the game project in a coherent, objective way and it seeks to maintain its identity, the UX (user experience) related methods seeks to understand and to dialog with the target audience. Inside a digital game development team, an UX professional is responsible to comprehend the user’s expectation and frustration to provide the target audience’s desired experience. (Veneziani, 2016) explains in his article that the user experiences are the aesthetics generated by the interaction with the proposed product. “The user experience highlights the affective, experiential, significant and valuables aspects of the human-computer interaction”. It is important to understand that UX is not a methodology or a tool directed to solve a problem, but various disciplines which must be aligned in order to favor the relationship between the player and the game, as seen in the Figure 1.

Figure 1: UX centralized as a set of disciplines – Font: (Veneziani, 2016)

Applying the UX concepts occurs in different moments, in each of them it intends to understand and determine which user experience is the most suitable. During the research stage, in example, is intended to establish which target audience and how is going to be built the strategy to reach them. The strategy stage is the phase where is organized the information that will be the project’s guidelines. And so on. Each stage has its own goals and culminates in its own decisions, establishing questions to be answered by the next stage. There- by, is possible to realize that the UX professional have a role during the pre-production until the post release, while a game designer has its focus heightened during the production stages. Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 34 Using UX Techniques in the Game Design Process: Practical Approach of The Initial Phases of a Project

User experience or Game Design? For many times, the concept of game design and UX ends up being confused among them so it was noted the game designer’s necessity in better comprehend the target audience. However, the assimilation of proper UX disciplines may initiate conflicts between techniques and tools. The reality is that both tasks, from game design and UX, are attributed to the same person, which may cause the process’ development to be more painful and problematic. To charge the very same professional or group of professional, the responsibility to ensure the game’s identity despite the team’s diversity and, simultaneously, comprehend the market and audience’s need to point the project’s guidelines is way exhausting, not to say incoherent. So, establishing the purpose’s differences aids to separate the techniques functionality and discern how to work with each stag’s results of every involved areas. The division of both competences grant the focus needed to each of them work properly generating more profitable results, however it ends up making up a new problem: which one of them is the game’s priority? In the first instance, this question may seem irresponsible, because both are vital to the proposal’s success, yet it is necessary since both of these areas ending up aiming different elements (team or public) and some of their process end up to working simultaneously. To realize this conflict, we can confront two different methodologies, one about game design and the other about user experience. In the MDA technique (Mechanics, Dynamics and Aesthetics) from (Hunicke, LeBlanc, & Zubek, 2004) , the game designer must stablish the aesthetics that the players going to experiment. After that elements being stablished, the project’s mechanics will be designed. In the UX method, Design Thinking Canvas developed by (Neves, 2014), the first stages consist in comprehend the scenario, the personas, the possible opportunities and the concurrence that will be faced by the project and how these choices will affect their targeting audience. Just by observing these two techniques it’s already possible to understand that a starting point may vary when choosing one of them, and so it determines a path to be followed by the team, and these paths may conflict themselves. To find a way a way to solve this divergence is the key to be able to worry both about the game’s identity development and the player’s needs and yearning. Despite having some specifics UX’s methodologies models for games, as described in (Vargas, 2015)’s article, where the Design thinking canvas is adequated to the game industry, or game design techniques minded to the UX’s feedbacks, as in the project done by (Lucher, 2016) in the “iA Zurich”, both cases are adaptions of another study line, not necessarily the joint of those competences. In the (Vargas, 2015)’s article we can realize that a tentative of adequation was made to adapt the canvas model to the game’s industry. Yet, in the “iAZurich” game project, we see the user experience learning being applied in a transitory way inside the game design stages. The full union of these professionals, UX and game designer, interfere in the complexity of both techniques and heterogeneity of each’s obligation.

METHODOLOGY

To solve the problem of the union of the User Experience and Game Design is not the purpose of this paper. Its purpose is to draft a comprehension of the hindrances of the communication between these disciplines based on the experiences entangled in the development of a game prototype in the academic’s scenario. The communication between methodologies was made by looking the game design’s ambient, seeking elements and techniques of UX to enhance the development prioritizing the final audience. The experiences of the members of the team was faced to the development, both in programming as in art, and the techniques were deferred to be used exclusively focused on game design. There was no previously knowledge about user experience. In the first stages, the project was fundamented by the game genre using the results obtained in the brainstorm process that was made. In this process, it was chosen which identity the game would have and which audience it would be aim. After this stage, we made the observation process described in the Design Thinking Canvas (Neves, 2014), an UX process. During this stage, it was identified that the target audience chosen was made in the wrong moment, since it was defined base on the game’s thematic, and not by analysing the opportunities and scenario. This was the first point that occurred the conflict between the methodologies. After Defined the game’s purposes, the narrative creative process was started. To elaborate the storytelling, a technique developed by the Pixar Animation Studios company was used. This technique summarizes the famous structure of the “The hero with a thousand faces”, wrote by (Campbell, 1995), into six major points. During this process it was, also, used the Brainwriting technique, where each member of the team writes his ideas using the other members’ ideas as basis, this way the narrative is being complemented and everyone participates of its creation, increasing the team’s creativity. Passed these stages, the team already understood the direction that the project was leading and how reach part should be collaborated in de development process. So, the programming, modelling, concepting and Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 35 Willyan Schultz Dworak, Ivan Lucas Paz and Ernesto Vilar Filgueiras animation as initiated, while each one of them was being documented in the GDD (Game Design Document). From the storytelling technique to the development stage, the game design methods predominated, with few utilization of UX’s techniques. However, when the first version of the prototype was developed, an UX walkthrough was used (it consists in a technique to show the stages of idealization and intended characteristics to people outside the process, to see how it will be react). This UX resource showed us that much of the team’s expectation that was designed in the GDD did not corresponded with the answers obtained by the test users. This incompatibility made clear, by the second time, that the UX techniques should be applied in different moments of the process, since the project aligns itself more with the publics expectation, than the team’s artistic vision. These results were reflexes of the utilization of a game design’s centered techniques only in the project’s development, and the application of the UX’s concepts when the sight and characteristics of the project was already defined without the target’s feedback. This Experience showed us that not only is necessarily to understand and to use the UX’s techniques during the game design’s process, but also, its application must be sensitive to the right moments of the project where it is needed, making the results correspondent with the target’s yearning and, so avoiding rework.

PLAYER CENTERED PROJECT

To be capable of making a better utilization of the User Experience’s concepts inside the Game Design, is up to the game designer to point his attention to the player from the very beginning, and each decision made, must have relevance toward what was learned about the public. Thereby, when some answer about the target is vague, it is necessary to comprehend them before any decision is made, whether is in the development stages or in the GDD construction. To answer this question, the utilization of the UX’s methods proved to be an optimal way to reach these answers, even without the presence of a person outside the process which would be impossible or would lead to an error. Therefore, the use of the UX’s methods must be used in precise moments inside the game design’s process. In (Veneziani, 2014)’s article, UX in software’s development, We can comprehend that the proper use of UX leads the public to be present in all development’s stages, and, in each of them, the questions found will be answered by the necessity of them, so, in the end, the natural cycle of these stages determine the proper path that the project will follow. This representation can be seen in the Figure 2.

Figure 2: User centered development process of a software – Font: (Veneziani, 2014)

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 36 Using UX Techniques in the Game Design Process: Practical Approach of The Initial Phases of a Project

DISCUSSION

Despite a digital game being a copyright artifact based on the involved professionals’ preferences, its purpose is to please the public and fill their needs, which is more and more demanding due the increasing variety of options in the market. To comprehend this public is far beyond than simply design the aesthetics that may pleases them, it is necessary to research the exact experiences that they would like and which of them is the one they want to find in the game itself. The game design concepts have been improved by the years in order to enhance the process of developing a game, the necessity to reach the players can be unfit or be mistakenly used if the proper area do not aid in this aspect. The UX contemplates, with experience and techniques, ways to include the user in the creative and production’s process, however its methodologies are adapted to the game industry, and it have not been developed specifically to it. Thereby, in order to a game project obtains the aimed success, it vital that both professionals, game designer and UX, are present in the process. Still, the attentions need to be more pointed to the game designer, since he needs to understand in which moments the User Experience applications are more suitable, in order to fill the blanks in the game’s design and, mainly when the user must answer the questions that, for many times, will be the solved in the internal layers of the project. So, if on the one hand, Game Design and the User Experience are separated disciplines, with their own properties and, are capable of trail their own path, the pact between both will bring essential quality that can define a project, in the user experience’s point of view, in success or failure.

REFERENCES

Campbell, J. (1995). O Herói de Mil Faces. São Paulo: Pensamento. Hunicke, R., LeBlanc, M., & Zubek, R. (2004). MDA: A Formal Approach to Game Design and Game Research. Retrieved June 14, 2017, from Northwestern University: http://www.cs.northwestern.edu/~hunicke/MDA.pdf Lucher, C. (2016, June 14). UX Lessons In Game Design. Retrieved June 15, 2017, from iA: https://ia.net/topics/game- design/ Neves, A. (2014, April). Design Thinking Canvas. Retrieved November 03, 2016, from Research Gate: https://www.researchgate.net/publication/262622411_Design_Thinking_Canvas Schell, J. (2008). The Art of Game Design: A book of lenses. CRC Press. Sylvester, T. (2013). Designing Games: A Guide to Engineering Experiences. O'Reilly Media. Vargas, V. C. (2015). Uma extensão do Design Thinking Canvas com foco em Modelos de Negócios para a Indústria de Games. Recife, Pernambuco, Brazil: Universidade Federal de Pernambuco, Centro de Artes e Comunicação, Departamento de Design Pós-Graduação em Design e Ergonomia. Veneziani, A. C. (2014, September 01). UX no processo de desenvolvimento de software. Retrieved June 17, 2017, from Usabilideiros: http://www.usabilideiros.com.br/index.php/usabilidade/artigos/item/58-ux-no-processo-de- desenvolvimento-de-software Veneziani, A. C. (2016, May 11). Processo de construção de produtos utilizando técnicas de UX. Retrieved June 17, 2017, from Usabilideiros: http://www.usabilideiros.com.br/index.php/usabilidade/artigos/item/63-processo-de- construcao-de-produto-utilizando-tecnicas-de-ux

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 37

Graphic Design a (Borderless) Dynamic Career

Márcio Serrado Fernandes a, Américo Mateus b and Susana Leonor c

IADE | Universidade Europeia, Portugal [email protected]

DELLI-design lusofona Lisboa - ULHT, Portugal [email protected]

IADE | Universidade Europeia, Portugal [email protected]

ABSTRACT

The Design Beyond Borders conference is an opportunity for reflection, in this case about the career of Graphic Designers. Taking advantage of the opportunity we will present a project of PhD that investigates the problematic of the career of this professionals. The idea to be investigated focuses on communication design. The aim is to determine if it will be possible to build a technology-monitoring model that allows communication designers to keep their skills up to date, taking into consideration the difficulties generated by the rapid evolution of technology and the demands that arise in the job market.

Keywords: Human-centered design, technology shifting, design career, action research, model building, design thinking, ideas(r)evolution.

INTRODUCTION

The Career of Graphic Design currently depends directly on the technology that has undergone an amazing evolution especially since 1993 with the appearance of the Internet. Over the years the pace of evolution and complexity has increased as computers have been getting faster, and with greater storage capacity. Graphic design is now a cross-border activity whose language and know-how are used internationally. The ability to work anywhere in the world has become a possibility. For many designers remote work is now a reality. All this dizzying evolution transformed the career of graphic designer, made it comprehensive and interdisciplinary, multidisciplinary, introduced new possibilities and new challenges. New needs have created numerous new paths that a designer can now follow and specialize. It is in the update to adapt to the new needs that the current great challenge is found for those who want to follow the career of graphic designer as well as for the designers who already practice the profession. Liza Enebeis at Studio Dumbar comments: "We need to anticipate technological change, adapt to it, master it, excel and then be open to new influences, all in a very short time. This new paradigm should involve educators and universities that prepare designers to reflect whether current curricula are up to the challenges posed by the new reality. Richard Wilde from the School of Visual Arts points out: "Students entering the creative industry not only need expertise in design and typography, conceptual thinking and execution skills – today they also need expertise in a variety of disciplines, including motion graphics and interaction design, supported by the latest technology, and coupled with strong presentational skills." In addition to the usual tools and generalist skills directly related to the designer's activity, designers who wish to integrate into this new reality have to develop other skills such as: Big picture ideation, execution planning collaboration, communication, and resilience under pressure. It is in this context that we intend to present a PhD project which addresses this problem.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 38 Graphic Design a (Borderless) Dynamic Carrer

PhD PROJECT

The core of the project is the systematization of the interaction between the 3 axis: TRAINING - TECHNOLOGY - MARKET in order to have a real-time update of what skills are required (in the analyzed time) for a designer to have a successful career.

Figure 1 – 3 main axis of the study

TRAINING

Education, skills and courses. Jamie Hobson points out: educators in visual communication and graphic design courses are having to re- consider the skills and talents of their future students. The majority of recruits to the discipline (especially in Britain and Europe) come from foundation courses with a strong artistic bias, yet they rarely satisfy the deeper requirements of graphic design courses.

TECHNOLOGY

The hardware, software, materialization An example of how hardware materialization influenced graphic design happened in 2007 with the appearance of the iphone. It was the beginning of the revolution that changed the paradigm of content production. Until then the production for screen was almost exclusively devoted to the web, now a whole new type of screen formats has arised, from a small wristwatch to a giant led panel new content will have to be produced. As an example of dematerialization we can mention the change in the record market since always great ally of graphic design. Disappearing vinyl records and CDs now music is digital and distributed for free in exchange for advertising. In this field the graphic design will have to reinvent itself or after all the booklets that for years complemented the CDs were completely unnecessary? Regarding the influence of software changes in relation to graphic design we can mention important moments such as discontinuation of Adobe Flash technology, the end to typographic limitations in the web made possible by google fonts, new formats of graphics for web as .svg (Scalable Vector Graphics)

JOB MARKET

Cycles, Needs, New Realities Another relevant influence for the graphic designer's career is the job market, after all it is this market that should absorb a lot of graphic designers. Factors such as crises, new needs and new trends influence the ca-

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 39 Márcio Serrado Fernandes, Américo Mateus and Susana Leonor reers of designers, such as the production of content for blogs and social networks, the increasing need for companies to add graphic designers to their teams. Saturation and competition in the job market forces designers to adapt, to work full time for a single company, or to work as a freelancer to become generalists or specialists. To quote Scott Berkun: “There is nothing like the impossible and the unfair to stretch your talents.”

THE CHALLENGES

The challenges of this project lie in the complexity of the data to be collected and the treatment of this information. The result based in the information obtained will certainly justify the relevance of this subject. The second major objective is to enable designers and society in general to use the guiding model that will take into account the skills already acquired and will generate a training plan taking into consideration the user ́s objectives. The third major objective is the production of a computer algorithm. This investigation will enable us to evolve the state of the art, firstly by gathering and consolidating useful information about the career of communication design professionals, as well as in future research works within the same scope this information could be used. Another key factor for the evolution of the state of the art will be the possibility to systematize or auto- mate a model that can be used and applied to any space time, if the necessary variables are provided in order to generate calculation that will make use of the algorithm based in the model that is expected to be created by this investigation.

RESEARCH PLAN AND METHODOLOGY

Due to the requirements of the theme and objectives of the project, methodologies common to social sciences will be used. It will preferably be based on the perspective of systematic ethnographic research and traditional and modern methods of data collection, analysis and comparison and systematic explanation of results. Specialized bibliography will be consulted, as well as essential statistics. Self-awareness forms will play an important role in this study. The main concern of the study is to avoid the stagnation of the communication designer's career by producing a reliable and sustained guiding model that analyses skills, technologies, and the state of the job market. The interest and importance of this work lies in the attempt to orient the career of professionals in an area in which skills tend to become obsolete and fragment very easily. In order to achieve this objective the following methodologies will be used:

Empirical methodology Empirical and field research with acquisition of relevant and convenient data obtained through the experience of the researcher with an abductive approach. This methodology will be used in a way of gaining Knowledge making use of Empirical evidence gathered by the data collection. This data will be analysed quantitatively and qualitatively. Quantitative and qualitative forms will be combined in order to obtain the data that can contribute for the clarification of the question being investigated. This study will make use of an abdotive approach will be in order to find the simplest and most likely explanation to the problematic. The secret charm of abduction lies straight in this kind of inference-being: abduction is sensible and scientific as a form of inference, however it reaches to the sphere of deep insight and new knowledge. Abduction is intended to help social research, or rather social researchers, to be able to make new discoveries in a logically and methodologically ordered way.[1]

Action research What makes action research distinctive is that the practitioners research have their own practices, that are different from of social science the traditional forms, where a professional researcher does research on practitioners, being themselves a part of the context and asking if the work is on the right way, if it need a necessary improvement, if it´s already satisfactory to make a evolution and produce evidences. [1]

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 40 Graphic Design a (Borderless) Dynamic Carrer

Model Building A model is an “explicit interpretation of one’s understanding of a situation, or merely of one’s ideas about that situation” and a “description of entities and the relationships between them”. [2]

THE EXPECTED RESULTS ARE:

- To build the model. - Recognize the designer’s skills gap´s taking into account the requirements of job market. - Understand the current market skills requirements vs. the designer’s skills. - Understand the principles of technology and market development. - Research Tools. - Model should enable designers to self-diagnose their skills. - Qualitative and quantitative instruments observation, questionnaires and Workshops.

REFERENCES

Badke-Schaub, P., Roozenburg, N., & Cardoso, C. (2010, October). Design thinking: a paradigm on its way from dilution to meaninglessness. In Proceedings of the 8th Design Thinking Research Symposium (DTRS8) (pp. 39-49). Brown, T. (2009). Change by Design: How Design Thinking Creates New Alternatives for Business and Society. Collins Business Enemies, L. (2012). Liza Enebeis for Open Set . Retrieved August 2017, from https://vimeo.com/53082708 Hobson, Jamie “the end of the line”, Eye. Nº 25 1997 Kurokawa, T. (2013). Design thinking education at universities and graduate schools. Technology Trends Quar- terly Review, 46, 50–62. Retrieved December 2014, from http://www.nistep.go.jp/en/wp- content/uploads/Science- Technology-Trends- Quarterly-Review-No.46%EF%BC%8Dreport4.pdf Laurillard, D. (2012). Teaching as a design science: Building pedagogical patterns for learning and technology. New York, NY: Routledge. Mateus, A.;Rosa, C. A. et all (2013). A methodology for appraisal and validation of User Centered Open Innova- tion Programs: a case study critical analysis of an energy supplier co-creative innovation program. DRS/CUMULUS em Oslo. 14‐17 Maio.http://www.hioa.no/eng/About--‐HiOA/Fakultet--‐for--‐teknologi--‐ kunst--‐sog--‐design/DRS--‐CUMULUS--‐Oslo--‐2013/Program/Program--‐PDF McIntyre, Alice (2008), Participatory Action Research- Qualitative Research Methods Series 52, Sage, California McNiff, J. (2002). Action Research for Professional Development. Retrieved fromhttp://www.jeanmcniff.com/ar-booklet.asp McNiff, J. & Whitehead, J. (2011). All you need to know about Action Research. Sage. London Patton, M. (2002). Qualitative research and evaluation methods. London: Sage Publications Ltd. Patton, M. Q. (1990). Qualitative evaluation and research methods. California: Sage Publications Routio, P (2007). Arteology, research of products and professions. Available at URL: http://www2.uiah.fi/projects/metodi/ Reichertz, J. (2010, January) Abduction: The Logic of Discovery of Grounded Theory. Retrieved from http://www.qualitative-research.net/index.php/fqs/article/view/1412/2902 Reason, Peter & Bradbury, Hilary (2006). Action Research. Sage, London Reichertz, J. (2010, January) Ab- duction: The Logic of Discovery of Grounded Theory. Retrieved from http://www.qualitative- research.net/index.php/fqs/article/view/1412/2902 Wilde, R. (nd). Biggest challenges in design, Retrieved August 2017, from http://www.creativebloq.com/graphic-design/14-biggest-challenges-design-today-31619475 Wilson, B. (1984). Systems: Concepts, Methodologies and Applications. Nova Yorque: John Wiley & Sons. Wong, Y. L. (2011). Developing opposable minds: Why design learning should become an integral part of the core curriculum in 21st century education. In W. Choy & C. Tan (Eds.), Education reform in Singapore: Critical perspectives (pp. 128–148). Singapore: Prentice Hall. Zhao, Y. (2012). World class learners: Educating creative and entrepreneurial students. Thousand Oaks, CA: Corwin.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 41 Literature Review: Design Management Models and their relevance to Branding

Sara Ganchoa

a IADE, Universidade Europeia, Laureate Universities, Lisbon, Portugal [email protected]

b UNIDCOM/IADE Lisbon, Portugal

ABSTRACT

This study is a comprehensive literature review of design management models and their importance for management and branding. Companies learned that they could achieve meaning through design and use it to position products in the market. However, there is still some lack of agreement of what is exactly the scope of design management and even of design’s relevance to business and branding (besides being for beautification purposes). This literature review looks at studies and models that bring us a design manager’s perspective in the organisation and tries to determine their relevance to branding by studying companies that implement design management models in their businesses. We have learned that, strategy wise, by using design management models, designers and marketers can achieve meaningful brand experiences through the use of design to better position products in the market and increase brand awareness.

Keywords: design management, design, branding, design management models

INTRODUCTION: DEFINING DESIGN MANAGEMENT

Although design management has developed as a discipline since the 70’s in the UK, it has not gained the attention that marketing and strategy have. This is perhaps because there is a lack of agreement of what the term “design management” really means (Sun, Williams, & Evans, 2011). Companies learned that they could achieve meaning through design and use it to position products in the market. The European automobile industry, for example, made great success from a large number of different vehicle types. What became evident was that beyond individual projects, images and brands – or the process today known as branding – play an increasingly important role, (Bürdek, 2005). Design’s effectiveness is closely linked to design management, the concept has to do with management activities, methods and skills that are needed to optimize and manage design processes (Knošková, 2011). Design management “ is the function of defining a design problem, finding the most suitable designer, and making it possible for him to solve it on time and within a budget. This is a consciously managed exercise which can apply to all the areas where designers work” (Cooper, Junginger, & Lockwood, 2013:p48). Design management encompasses all the visual elements of the company, which are: management of the formalization of products, communication, visible spaces in the company and some staffing issues. The design manager needs to know the fundamentals of all management tasks, knowledge of administration and control. It needs to know of his or hers tasks such as design but also all related functions such as marketing, communication, production, engineering and R&D. Design managements needs to be able to transmit the importance of design in the corporate strategy, and they need to be able to influence the decision making process (Montaña, Jordi, Guzmán, 2007). Design management is connected with the rise of businesses awareness of design as a value creator. Alt- hough design was recognized as able to add value to business, the role of designers was still not prominent in the majority of organisations (Sun et al., 2011). Borja de Mozota (De Mozota, 2006) believes design management combines design with management and Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 42 Literature Review: Design Management Models and their relevance to Branding studies how to manage design regarding its use in a project, organisation or nations. It is independent from other management contents because of design nature and characteristics. Design management studies the controversy between design and management and tries to bridge the gap between them. Design management can have different meanings, scopes and contexts. It has been developed by academics from different backgrounds such as: design, economics, management, marketing and even psychology (Sun et al., 2011). Design managements “consists of the introduction of design as a formal programme of activity within the organisation, demonstrating the importance of design in the long term corporate objectives and coordinating and incorporating design resources at all levels of company activity in order to meet those objectives” (Monta- ña, Jordi and Guzmán, 2007: p837). There was a need to create awareness for the design management professional in the business world and this need was identified by Gorb and Dumas in their study in 1987. They explored the interaction between design and other business functions and came up with a term called “silent design” that characterizes the activities done by non-designers who are not aware that they are participating in a design activity (Gorb, 1990). Authors Kotler and Rath talk about design as being an important strategic tool that can give companies a competitive advantage. They believe that most companies neglect design as being strategic and do not understand how design is able “ to enhance products, environment, communication and corporate identity”(Kotler & Rath 1984 p.16). The authors also talk about how difficult it was to implement design management within a company that is used to operating a certain way. They believe that both marketers and designers have to learn from one another in order to better incorporate design into the marketing planning process of a company. The author Knošková, talks about the strategic role of design of how design’s role in products and services differentiation is becoming increasingly important but also how design’s contributions to an organisation are more understood and valued. The author links the effective use of design to design management: “ The concept of design management relates to certain management activities, methods and skills that are required to optimize and manage design processes” (Knošková, 2011: p9).

Design Management Models

The models presented in this article were selected based on their relevance to the field of design management. We based our criteria on models that look at design as a strategic asset and that incorporate aspects of business performance. A study done in 2009 looked into the effects of design investment and business performance and the overall role design plays in that. The following hypothesis on the results were that (Chiva & Alegre, 2009):

• design management boosts business performance; • design investment is positively related to design management; • design investment only influence business performance when the company has a design management structure in place

Chiva and Alegre’s (2009) hypothesis relate to Borja de Mozota’s four powers of design. These authors both see design as a good investment as it increases good business, brand value, ROI, market share, increasing overall sales. They also see it as good for performance but Borja de Mozota also adds the “design as differentiator”, giving a competitive advantage to businesses, and as an “integrator”, for being able to improve product development processes. Borja de Mozota believes that design acts have four values in the value chain and act as a differentiator, integrator, transformer and good business (De Mozota, 2003).

1. Design as differentiator: design being the source of competitive advantage on the market through brand equity, customer loyalty, price premium, or customer orientation 2. Design as integrator: design being a resource that improves new product development processes. Favouring a modular architecture of product lines, user-oriented innovation models and fuzzy-front-end project management 3. Design as transformer: design as a resource for creating new business opportunities, for improving the company’s ability to cope with change or as an expertise to better interpret the company and the marketplace 4. Design as good business: design as a source of increased sales and better margins, more brand value, greater market share, better ROI, design as a source for society at large (inclusive design, sustainable design). Table 1. Four Powers of Design, Brigitte Borja de Mozota (2006)

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 43 Sara Gancho

Borja de Mozota believes that the four perspectives of the balance scorecard model by R. Kaplan and D. Norton (figure 1) relates to the four powers of design. Those values are: customer perspective (design as differentiator), process perspective (design as coordinator), learning perspective (design as transformer); finance perspective (design as good business) (De Mozota, 2006). The author states that the scope of design management has changed from project design management to strategic design management.

Figure 1 - Design Value - Balanced Score Card model. R. Kaplan and D. Norton

Literature on design management also shows that design is key in strategic positioning and in the process of building a competitive advantage. Designers are able to create perceived value (Mozota, 2003).

Figure 2. Design as strategy, Process and Styling, Borja de Mozota (2006)

Authors Hase, H., Hinz, K. and Schnackengerg talk about the three vectors of design management and how design/layout, communication and management relate to the concept of design management (Hase, H., Hinz, K. and Schnackengerg, [s.d.]).

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 44 Literature Review: Design Management Models and their relevance to Branding

Figure 3. Design Management - H. Hase et al (2006: p.24)

This means that design management plays different roles in all stages of a project. According to the model above, in between the design, management and communication, design management is responsible for (Hase, H., Hinz, K. and Schnackengerg, 2006): • Design direction, • Design realization, and • Design coaching.

The Danish design ladder is a framework that facilitates the evolution of the use of design by a company. This is a four step model, on the first step there are companies that do not use design, on the second they have companies that only use design for matters of styling, on the third step there are companies integrating design into their development process and on the final fourth step, companies that consider design as a key strategic element (Kootstra, 2009). This model is helpful because in assess the different ways companies are integrating design. Ideally the authors say that they would like companies to consider design in the forth step.

Figure 4. Danish Design Ladder

Another way to look at the maturity of the use of design is the following framework:

Figure 5. Design Management Staircase, Koostra (2009)

The design management staircase is based on the Danish design ladder we have explained previously (figure 5). Kootstra developed this staircase that focused on the maturity of design management, as the previous

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 45 Sara Gancho one was focused on the use of design by companies. This is also a four stage model that also has five factors in it: awareness, planning, resources, expertise and process, that complements the model (Kootstra, 2009): • Level 1 – no design management: On this level companies do not or rarely use design as a differentiator. • Level 2 – design management as project: These companies use design on an ad-hoc basis, mainly as a marketing tool but not as adding value through new product and service development. • Level 3 – design management as function: Early involvement of design into product and service development processes takes place and specialized expertise for innovation is deployed where needed. • Level 4 – design management as culture: design is “a way of life” in these companies (Acklin, 2013).

This model illustrates the typical behaviour towards design management in four different levels. The starting point on level 1 is the immature level and the top level is where design management is of strategic nature and embedded in the company’s culture. This model suggests that the higher a company is in this staircase the greater design is seen as of strategic importance. Chiva and Alegre talk about the levels of design management skills through a Linkert scale: - Basic skills include managing basic activities of the design process like designing high quality, manufacturability, designing and launching products faster, and low cost; - Specialized skills entail abilities to manage activities like cost estimation of new products, to use the latest computer-aided design tools, to test manufacturability of new products during the design process, and to find people with excellent design skills; - Involving Others includes the skill to involve customers and suppliers in the design process and getting new product ideas from customers; - Organisational Change is about the ability to change the way things have traditionally been done in a company; it also contains getting different functions in the firm to work together or replacing sequential with concur- rent design (Chiva and Alegre, 2009). According to Qian Sun, Alex Williams and Martyn Evans (2011) design management is a relatively new concept as compared to design practice or management. Most models consider design management from an organisational perspective instead of contextualizing it with its design practice. By isolating this contextualizing perspective it can be difficult to track design industry emergent trends. The authors come up with a model, which aims to conceptualize design management practices addressing the concerns of the sector’s stakeholders.

Figure 6. Model by Sun, Williams and Evans (2011).

Stevens, Moultrie and Crilly talk about ways in which design can be strategic and add strategic value (Ste- vens, Moultrie, & Crilly, 2008). • in conceiving and creating high-value products; • in building product (or brand) differentiation and customer intimacy; • as an integrator and mediator between professional domains, both within the organisation (e.g. marketing, production) and outside (e.g. suppliers, distributors, partners); • as a hard-to-imitate tacit knowledge resource; • in shaping, communicating and reinforcing an organisation’s internal culture; • in exploring uncertainty and assessing trade-off, through prototyping and visualization; • in stimulating creativity and providing fresh perspectives in the strategy context. It is suggested then

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 46 Literature Review: Design Management Models and their relevance to Branding

that design’s strategic relevance can be considered in three ways: competing by ‘high design’ can be a strategic position in itself; an integrated, coherent design approach can help implement strategic positioning; design methods (so-called ‘design thinking’) can inform strategy formulation.

Design Management and Branding

As we could see from the previous chapters on design management and design management models add to brand value. We have analysed several models that relate the importance of branding and design Manage- ment. Approaching branding through design Management can add to Brand strategy. Design management can be integrated with the brand building and new product development processes. It makes it easier to create products and services that generate positive interactions with the customer (Veryzer, R. W., & De Borja de Mozota, 2005). These categories overlap and there are many examples of design that are hard to fit in one of these categories. It is important to understand the interdisciplinary or rather multidisciplinary nature that design represents. This multidisciplinary nature can aid business leaders create working groups for solving complex problems (Beuker & Abbing, 2010). Authors Erik Roscam Abbing and Christa van Gessel provide an explanation on the shifts brands took. Table 2 explains the evolution of branding from the old paradigms to the new ones. Previously branding was focused on creating promises and now it is all about fulfilling them. The entire organisation owns the brand as opposed to before when it was just the marketing department. The new branding paradigms have more to do with strong organisational and stakeholder insights and should be about stakeholder’s aspirations (Abbing & Gessel, 2008).

Table 2. Shifts in the way brands are managed, Abbing & Gessel (2008)

The brand needs to provide vision, focus and direction. Design and branding have a shared understanding of a common goal (Abbing & Gessel, 2008). The authors also provided a four-step method for brand-driven innovation that explores the role of design in branding and innovation (table 3). They call it the Brand Driven Innovation (BDI) framework.

Phase 1. Brand usability

Phase 2. Innovation strategy

Phase 3. Design strategy

Phase 4. Touch-point orchestration

Table 3. Brand Driven Innovation, Abbing & Gessel (2008)

The authors talk about each phase as either a separate field or phases in a process. Brand usability is about brand relevance to the organisation and the end user. It is used by marketing and product development and it is key to acquire insights of how these two stakeholders interact. In the above table we see innovation capable of delivering value and creating opportunities with design taking a lead role as the source for meaningful ideas and a linking force among disciplines. Design is taking a

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 47 Sara Gancho leading role in the convergence of branding and innovation. In order for brands to achieve their potential they have to innovate in order to fulfill their promises.

Conclusions

Design is a tool for creating integrated brand experiences and this is because visual symbols have a greater value than words in the marketplace (Borja de Mozota, 2003). Brands are turning into symbolic signs that focus on creating influences and experiences (Salzer-Morling, M. and Strannegard, 2004). Positive aesthetic product designs lead to positive brand evaluations and facilitate product and brand categorization and consumer interaction. The aesthetic aspect of design helps to satisfy the consumer’s experiential worlds and generates loyalty and a sense of exclusiveness. Design aesthetics are added value to the customer and produce positive effects on the performance of the organisation (Kreuzbauer & Malter, 2005). Chiva and Alegre’s research has proven that design management is able to enhance a firm’s performance. Design management is the organisational and managerial skill that allows a company to develop efficient design, which relates to firm performance. They also proved that investing in design not only improves design management skills but it also enhances other skills (Chiva & Alegre, 2009). Authors Cooper and Evans say consumer-centered product design is becoming a best practice for industries and market research techniques that help with the data translation into sensory dimensions, like ethnography, anthropometrics, and other observational techniques, are becoming more important in the new product development process (Evans & Cooper, 2006). Best states that design affects management in different levels and can be active on strategic, tactical and on operational levels. It can set long-term to day-to-day goals: “ design is a function, a resource and a way of thinking within organisations and one that can be active in the strategic thinking, the development of processes and ... the implementation of projects, systems and services; the ways in which an organisation connects with its customers and stakeholders” (Best, 2006: p.16). Best adds that design should be seen as an economic advantage. Its use as a communication and strategic business tool places design management at the heart of a business plan. Design is also important in other social issues such as ecology, new technologies, innovation, cultural processes and enterprises. Therefore, Design is linked with the way society, the environment, and businesses interact. In today’s highly competitive world, organisations that are integrating design in their practices and approach design in a more managed way, have better overall results (Best, 2006).

ACKNOWLEDGEMENTS

The author wishes to acknowledge the contribution of its research team at IDEAS(R)EVOLUTION, UNIDCOM/IADE. REFERENCES

Abbing, E. R., & Gessel, C. van. (2008). Brand-Driven Innovation. Design Management Review, 19(3), 51–58. Acklin, C. (2013). Design Management Absorption in SMEs with Little or No Prior Design Experience. Lancaster University - Faculty of Arts and Social Sciences Institute for the Contemporary Arts. Best, K. (2006). Design management : Managing Design Strategy, Process and Implementation. Lausanne, Switzerland: Ava Publishing SA. Beuker, R., & Abbing, E. R. (2010). Two Faces of Social Media: Brand Communication and Brand Research. Design Management Review, 21(1), 54–60. http://doi.org/10.1111/j.1948-7169.2010.00051.x Bürdek, B. E. (2005). Design: History, Theory and Practice of Product Design (1st ed). Berlin, Germany: Birkhäuser-Publisher for Architecture: Springer Science + Business Media. Chiva, R., & Alegre, J. (2009). Investment in Design and Firm Performance: The Mediating Role of Design Management. Product Innovation Management, 26, 424–440. http://doi.org/10.1111/j.1540-5885.2009.00669.x Cooper, R., Junginger, S., & Lockwood, T. (2013). The Handbook of Design Management (1st ed). England: Berg Publishers. De Mozota, B. B. (2003). Design and competitive edge : A model for design management excellence in European SMEs. Design Management Journal, 2(617). De Mozota, B. B. (2006). The Four Powers of Design : A Value Model in Design Management The Four Powers of Design : A Value Model in Design Management. Design Management Review, (617). Evans, M. D., & Cooper, R. (2006). Breaking From Tradition: Market Research, Consumer Needs and Design Futures., (617). http://doi.org/10.1111/j.1948-7169.2006.tb00032.x Gorb, P. (1990). The Future of Design and its Management. In Mark Oakley (Org.), Design Management - A Handbook of Issues and Methods (p. 15–25). Oxford.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 48 Literature Review: Design Management Models and their relevance to Branding

Hase, H., Hinz, K. and Schnackengerg, H. (eds. . ([s.d.]). Design Management, Volumes 1-3. Berlin: International Design Zentrum. Kootstra, G. (2009). The incorporation of design management in today’s business practices. An analysis of design management practices in europe. Kotler, P., & Rath, G. A. (1984). DESIGN: A POWERFUL BUT NEGLECTED STRATEGIC TOOL. Journal of Business Strategy. http://doi.org/10.1108/eb039054 Kreuzbauer, R., & Malter, A. J. (2005). Embodied Cognition and New Product Design: Changing Product Form to Influence Brand Categorization. Journal of Product Innovation Management, 22(March), 165–176. Montaña, Jordi, Guzmán, F. (2007). Branding and design management: a brand design management model. Journal of Marketing Management, 23(9), 829–840. Mozota, B. B. De. (2003). Design Management: Using Design to build brand value and corporate Innovation. New York: Allworth Press. Salzer-Morling, M. and Strannegard, L. (2004). Silence of the brands. European Journal of Marketing, 38(1/2), 224–38. Stevens, J., Moultrie, J., & Crilly, N. (2008). Designing and design thinking in strategy concepts : frameworks towards an intervention tool. In International DMI Education Conference Design Thinking : New Challenges for Designers , Managers and Organizations. Cergy-Pointoise, France. Sun, Q., Williams, A., & Evans, M. (2011). A Theoretical Design Management Framework. The Design Journal, 14(1), 112– 132. http://doi.org/10.2752/175630610X12877385838885 Veryzer, R. W., & De Borja de Mozota, B. (2005). The Impact of User-Oriented Design on New Product Development: An Examination of Fundamental Relationships. Journal of Product Innovation Management, 22, 128–143.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 49 Working process with plastic a way to reduce the stigma of schizophrenia

José Góisa, Sofia Oliveiraa, António Rosárioa and Rui Mendonça b

a Universidade do Porto [email protected]

b Universidade do Porto researcher at ID+ [email protected]

ABSTRACT

This paper aims to present the study of an activity process and resulting products with access to basic or waste resources such as plastic, with a simplified and reduced number of steps. It is intended to serve as a base study, later to be tested for inclusion purposes on working activities for people with schizophrenia. From the activity process they will create some predefined products, helping this way to fight the self-stigma and promote social awareness and better comprehension of schizophrenia issues. The paper will draw the attention to the process methodologies, some issues & ideas using sustainable design, and the possibility of decreasing public and self- stigma in schizophrenia patients, with the future integration of them in the production process.

Keywords: Design, Inclusion, Mental illness, Schizophrenia, Stigma, Recycling, Work process, Plastic waste.

INTRODUCTION

Schizophrenia, public stigma & self-stigma

According to Corrigan P W, (1998) schizophrenia starts with a biological vulnerability, but the negative impact on the patient is not entirely due to the ramifications of the biological disorder, also society’s reaction to this subject seems to have an equally harmful impact that we call as stigma. Corrigan (1998, p. 201) refers, that the social media, all been vehicles for communicating the experience of severe mental illness. This has, however, tended to be a misrepresentation of the experience. Persons with psychiatric disability suffer societal scorn and discrimination because of the stigma that evolves out these misrepresentations. Housing, work problems, and frequently the lack of both social and coping skills can occur directly because of the disabilities that result of a mental illness like schizophrenia. But also, “the stigma can rob people labelled “mentally ill” of important life opportunities that are essential for achieving goals.” (Corrigan, Kerr and Knud- sen, 2005, p. 179). The awareness of stigma may affect a person’s sense of self in at least two ways. First, people may constrict their social networks in anticipation of a rejection, which is related to isolation, unemployment and lowered income. The “failures” result in a decrease of both self-esteem and self-efficacy. (Link, 1987; Markowitz, 1998). Second, people with a mental illness may consider such stigmatizing ideas self-relevant, believing that they themselves are less valuable because of the disorder in the same way they are described by others. The effect of these process is here defined as self-stigma like several studies suggests (Corrigan and Watson, 2002; Crocker and Major, 1989). Corrigan et al. (2005, p. 180) state that both “perceived and self- stigma result in losses of self-esteem and self-efficacy, and limit prospects of recovery.”

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 50 Working process with plastic a way to reduce the stigma of schizophrenia

The Nova Aurora organization, its resources and activities The Associação Nova Aurora na Reabilitação e Reintegração Psicossocial – ANARP is non-profit organization whose mission is to respond to the necessities of people with severe mental illnesses, mostly people with schizophrenia. It provides its patients with the support and the backup needed for their reintegration in society, thereby improving their life quality (ANARP, n.d.). Briefly describing the organization’s patients, most of them are diagnosed with a serious condition of schizophrenia, even though some have better cognitive abilities and physical dexterity than others. Many of them suffer of low self-stem and self-stigma, lack routine activities and have no purpose in life. To prevent this, the organization creates activities that instil relaxation, creation of daily life routines and their integration in the society by making several projects with the patients in different fields, like sports, music or art, represented in figure 1 (“Fintar o estigma,” 2014; “Sincronias,” 2015; “Contratempo,” 2016). The organization further promotes the integration of the patients by including external people who are willing to participate in the activities, thereby stimulating social inclusion and spreading the anti-stigma message in the society. Because of the financial limitations of the association, this kind of initiatives depends mostly on partnerships, loans or donations, so the resources and logistics for these kinds of activities are limited. With those projects, ANARP also tries to instigate the message and the mission of the association to the society by including the patients in the projects involved, a different approach compared with what other associations are doing (“Upa movimento 08”, 2008; “Upa faz a diferença”, 2010; “Upa Informa”, 2010).

Figure 1 - ANARP Projects, left to right, Sincronias, Contratempo, Fintar o estigma. Creating a purpose with activity process As discussed earlier, an important goal of most people that suffer from schizophrenia is obtaining a job and, thus a purpose, to feel valuable and equal in society. We also can conclude in first-hand the importance of a job and a purpose by reading Tolley (2017) oeuvre, where he states that his work has helped him manage his schizophrenia and has increased his self-confidence. It is important that the tasks can be done without error by the patient, to increase his self-esteem and self-efficacy “At the end of the day I can perform just as well as the guy standing next to me” (Tolley, 2017). By improving the success rate, involvement and interest for the activity, we can achieve a purpose by making the patients feel useful, ultimately raising their self-esteem and self- efficacy by creating products that can later be sold to help the patients of ANARP in their own independence.

Sustainability & plastics a way for resources Thermoplastics are widely spread through our society. Most of the time, it is remnants are regarded as waste, and even though it can be recycled, as said by Gourmelon (2015), “between 22 and 43 percent of plastic worldwide is disposed of in landfills, where its resources are wasted, it takes up valuable space, and it blights communities. Our everyday consumption includes products such as food packages and cleaning products, which are usually thrown away, is responsible for most of plastic use, representing 40 percent of demand in Europe.” Within the thermoplastics family, there exists a wide range of plastics currently used by the industry. By comparing their proprieties with material software (by CES EDUPAK Granta, 2015), we observe that one of the prime materials for Packaging plastics is Polyethylene (HDPE or LDPE), which is also one of the easiest to process and melt, and the one that exists in greater quantities (Smith, 1995). Also in an initial phase, it is relatively easy to obtain it without any cost. This way, we found a suitable solution as our prime resource in this working activity, based on plastic waste resources, creating conditions to implement the working activities and to produce objects with them. We used the concept of circular economy, that includes not only recycling but also reusing waste material. As said by Ellen MacArthur Foundation (2017), “looking beyond the current "take, make and dispose” extractive industrial model, the circular economy is restorative and regenerative by design.” Recycling and reusing waste materials such as plastics has been a strong trend this last decade. In figure 2, we can see several projects done in the last few years that already apply the concept, much of them to create awareness to the environmental issues of waste materials and waste resources. (Pereira, 2009; Shpigel & Tomer, 2010; Murakami & Groves, 2013; Saw, 2014; Duffy & Gub- Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 51 José Góis, Sofia Oliveira, António Rosário and Rui Mendonça bins & Turvey, 2014; Zufelt, 2015; Hakkens, 2016). Industrial companies also started to advertise and to do some of their products around this environmental issue of waste and recycling (Howarth, 2016).

Figure 2 – plastic waste projects.

Being sustainable and eco-friendly requires more than recycling materials and using waste resources, the products made must be thought in different levels. The end-of-life products retain substantial worth if they can be separated into isolated forms and to recycle or later be used in the production of new products. As said by Sultan, Lou and Mativenga (2017, p. 57) “considering the number of material combinations missies the total possible number of dis-assembly steps needed to enable recycling.” Furthermore, other factors characterize a sustainable eco-efficiency, such as: reducing material intensity, reducing energy intensity and toxic dispersion (Birkeland, 2002). These are important factors that we had to take into consideration for this project’s production and product development. Polyethylene, for instance, is one of the simplest thermoplastics and one with the lowest toxic proprieties (Smith, 1995). This lower intensity of energy means less costs, and by reducing material intensity we can obtain more products with less material. In this way, the lack of resources in ANARP can be mini- mized by the overgrowing of waste materials and some partnerships, which will allow these materials to be obtained via donations or at minimum costs.

OBJECTIVES

The main purpose of this paper is to present a new working process and products ready to be tested, in ANARP facilities, making use of accessible and plastic waste resources to create ways for inclusion and fight the stigma of schizophrenia patients (thereby decreasing their depressive symptoms, isolation and professional debilita- tion).

METHODOLOGY

Workshop core approach With the guidance of the Professor and ANARP Psychologist Ana Morais, we develop a Workshop core approach plan to obtain the output that we need to overcome “failures” and the lack of efficiency resulted by the low self-esteem that is stated by Link (1987), Markowitz (1998) and Corrigan et al. (2005), giving to the patients a goal that they can pursuit. the output that we found so far is based on the worker involvement, the preven- tion of errors by the user and the well-being that we may feel during and after the job done correctly and seeing the product result in the end, the workshop core approach and the output can be seen in figure 3.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 52 Working process with plastic a way to reduce the stigma of schizophrenia

Figure 3 – workshop core approach and expected output. Empathize & analyze by observation: Cyanotype Workshop To validate the method of workshop core approach at this point we had to use a cyanotype workshop already planned and fully developed before we can move forward with the plastic waste activities. We conducted a Cyanotype workshop, led by the authors and other group of design team (Carolina Figueiredo, Ana Cunha, Claudia Magalhães, Catarina Ferreira, Diana Salazar). In figure 4, we can see in more detail the process and the workshop core approach, that is the base reference for the cyanotype workshop as well as for plastic activities. Patient selection was done by their profile and cognitive evaluation by the psychologist of ANARP (Ana Morais). It was done in ANARP facilities, with a group of 12 patient, in this workshop all the tasks are performed by them. This allowed us to collect some input data about the patients and started to empathize with them to seeing their motivation and difficulties in a working process.

Figure 4 – process development, workshop workflow. Digging the tunnel throughout the process The authors were also dedicated to the research, and technical development to reuse the plastic waste as our main prime resource. The cyanotype workshop gave us valuable information, about the patient’s performance and motivation, in Figure 5, we can see how we synthesize the data into the process development of the plastic waste activities.

Figure 5 – Chart with process stages and work methods.

We ideate the process as seen in figure 5, based on the research, existent solutions of processing plastic waste (Zufelt, 2015; Murakami & Groves, 2013 Duffy et al, 2014), synthesized input data of the cyanotype workshop,and the workshop core approach reaching this way to the plastic waste activity tasks represented on fig.6.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 53 José Góis, Sofia Oliveira, António Rosário and Rui Mendonça

Figure 6 – Plastic waste activity tasks, workshop core approach and output.

RESULTS

Process overview In this part of the on-going project we were focused on optimize the process for later be tested with the patients, we had done the process with two persons, the first one is in direct contact with the materials and the second one gives the assistance needed, an overview of the process is presented in figure 7.

Figure 7 – Process overview, plastic waste activity.

Clean The plastics was cleaned before cutting to avoid the risk of dirt and other materials interfere with the PE proprieties, as well as the risk of creating structural imperfection.

Cut Cutting the raw plastic in pieces improves the heating time needed to fuse the material together, also lowers the probability of creating air bubbles.

Quantity The surface of plastics consists in a mixed colours with 40gr of plastic (HDPE or LDPE) applied with controlled quantities, it does not need more than 5% of coloured PE to have a spread and well-distributed pattern, we can see the different patterns obtained in figure 8.

Figure 8 - Mixture of coloured Polyethylene.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 54 Working process with plastic a way to reduce the stigma of schizophrenia

Mould We found that simple shapes work the best in getting the plastic out. Although it was necessary to clean the surface of the mould after two usages, the PE plastic does not stick to the metal when polished. This avoided relying on additional materials (e.g. parchment paper) and adding another element to the process, we can see some of this cases in figure 9.

Figure 9 - Stainless steel moulds, with PE. Melt After some trial and error, the team found that the plastic (e.g. HDPE or LDPE) can be heated in the oven for about 10 minutes at 160 C °, for making simple prototypes that don´t surpass the 5mm of thickness.

Press A uniform press was made on the mould, and in a simple metal sheet too much pressure dropped the material outside of the mould, and created vacuum and deformities on the surface, making it difficult to unmould. In case of pieces with lower thickness, 0.6 mm up to 1.5 mm, only one-time pressing was needed.

Cooling It was observed that the cooling time depends largely on the size and thickness of the plastic part. The mould was then immersed in a water sink, this way the team prevented the plastic to contract more and keeping it straight, making it easier to unmould and enhance the activity ‘safety itself.

Finishing Insertion of some rivets or fusing the material with a hot pen were done to fix the structure and get the right shape of the prototypes, (e.g. Lamp case), also some finishing details were made, like polish rough corners and surfaces, or making some easy-going finishing like make holes with a column drilling machine.

Assembly Complex prototypes that need some assembly (e.g. Lamp case), we used regular fasteners and standard elec- trical components, the materials used was: tube screws, washers, metal or plastic tube that can be cut by the patients.

Prototypes The team produced prototypes, the results includes new product concepts, such as lamps and buttons. Sample solutions shown below, in Figure 10 and Figure 11.

Figure 10 - Lamp prototypes, made with plastic waste.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 55 José Góis, Sofia Oliveira, António Rosário and Rui Mendonça

Figure 11 – Buttons prototypes, made with plastic waste.

The buttons after being unmoulded need to be pressed down to pop up. They also require some finishing with sand paper and drilling process.

DISCUSSION

Although the approach used to create the tasks has the same root in different activities or products, if the language and complexity we aim to achieve is strict perfection with the result of this activities, then doing it can be limitative or non-profitable. It can in fact create a conflict in the process. To engage in this level, what we concluded is that the patients work can be done by this method in a part, and not the whole, of the production activity. The Cyanotype workshop activity also consisted of a bridge that gave us valuable information to expose problems and create scenarios that we had not thought throughout the process, making in this way this plastic waste activity process more accurate and prepared to be tested with patients. Not only did we consider the process and the workers, but also the materials and the tools used, which must be simple and accessible. An additional fact kept in mind during the development of this process was the possible lack of interest of the patients and the level and severity of the schizophrenia disorder, this data we acquired with the direct observation in the Cyanotype workshop activity. The indications of the therapists and employees of the association, and later observed in the field with the patients, was that it is easier to stimulate the patients for the activities when they can see the result physically. In fact, this would stand out as a clear advantage of product making. It is also important to establish different levels of work, suitable for the abilities of each patient, which should be obtained by a proper evaluation of the patients by the team and their therapist. During the process and product development, it was done a constant improvement of the process, later with the tests with the patients it will need to be analyzed by the team and the ANARP supervisors and then evaluated for better results. The products can later be tested to promote the message against the sigma, include the patients in a working environment, which would then improve their self-confidence in the short- or medium-run, and to have some monetary return for ANARP and their patients.

CONCLUSION

This paper demonstrates the clear value of product design education, development and thinking, in the creation of possible solutions with lack of resources and focusing on issues like stigma in mental illness diseases such as schizophrenia. Also, the importance of multidisciplinary interaction in the development of the process, the contact with professionals and the patients of ANARP, and the direct observation of other activities such as the cyanotype workshop, were helpful to create possible scenarios and think about problems that would not be thought only by research. This grants the project a more solid and assertive response when tested, not forgetting that it is a process of constant evaluation.

REFERENCES

ANARP. (n.d.). Retrieved from http://www.anarp.org.pt/ Birkeland, J. (2002). Design for sustainability: a sourcebook of integrated, eco-logical solutions. London: Earthscan Publica- tions. 8, 62-100. Corrigan, P., W. (1998). The Impact of Stigma on Severe Mental Illness, Cognitive and Behavioural Practice. 5, 201- 222. doi: 10.1016/s1077-7229(98)80006-0 Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 56 Working process with plastic a way to reduce the stigma of schizophrenia

Corrigan, P. W. (2002). The Paradox of Self-Stigma and Mental Illness. Clinical Psychology: Science and Practice, 9(1), 35-53. doi: 10.1093/clipsy/9.1.35 Corrigan, P., W., & Kerr, A., & Knudsen L., (2005). The stigma of mental illness: Explanatory models and methods for change, Applied & preventive Psychology. 11, 170- 190. doi:10.1016/j.appsy.2005.07.001 Crocker, J., & Major, B. (1989). Social stigma and self-esteem: The self-protective properties of stigma. Psychological Re- view, 96(4), 608-630. doi:10.1037//0033-295x.96.4.608 Duffy, C., & Gubbins, W., & Turvey, B. (2014). Everything You Buy Is Rubbish. Retrieved from http://everythingisrubbish.co.uk Gourmelon, G. (2015, January 27). Global Plastic Production Rises, Recycling Lags. Retrieved from http://vitalsigns.worldwatch.org/vs-trend/global-plastic-production-rises-recycling-lags Hakkens, D. (2016). Precious Plastic. Retrieved from https://preciousplastic.com/en/ Howarth, D. (2016, September 28). Adidas x Parley shoes made from recycled ocean plastic launch. Retrieved from https://www.dezeen.com/2016/06/08/adidas-trainers-parley-for-the-ocean-plastic-design-recycling/ Link, B. G. (1987). Understanding labelling effects in the area of mental disorders: An assessment of the effects of expectations of rejection. American Sociological Review, 52, 96–112. doi:10.2307/2095395 Markowitz, F. E. (1998). The effects of stigma on the psychological wellbeing and life satisfaction of people with mental illness. Journal of Health & Social Behaviour, 39, 335–347. doi:10.2307/2676342 Murakami, A., & Groves, A. (2013). Sea Chair. Retrieved from http://www.studioswine.com/sea-chair/ Pereira, R. (2009). Melt Project Workshop. Retrieved from http://www.rui-pereira.com/index.php?/ongoing/melt-project/ Projeto "Contratempo". (2015). Retrieved from http://www.labrp.com/?q=pt-pt/node/144 Projeto “Fintar o estigma”. (2014). Retrieved from http://www.labrp.com/?q=pt-pt/node/145 Projeto "Sincronias". (2015). Retrieved from http://www.labrp.com/?q=pt-pt/node/146 Projeto “UPA Faz a diferença”. (2010). Retrieved from http://upafazadiferenca.encontrarse.pt/ Projeto “UPA Informa”. (2010). Retrieved from http://upainforma.encontrarse.pt/ Projeto “UPA movimento 08”. (2008). Retrieved from http://www.encontrarse.pt/upa08/ Saw, J. (2014) Plastic Extruding. Retrieved from http://www.jamesmichaelshaw.co.uk/PlasticExtruding.html Smith, W. F. (1995). Principles of materials science and engineering (3rd ed.). New York: McGraw-Hill. Shpigel, A., & Tomer, K. (2013). Kulla design studio: 50% sawdust. Retrieved from https://www.designboom.com/design/kulla-design-studio-50-sawdust/ Sultan, A., & Lou, E., & Mativenga, P., (2017), What should be recycled: An integrated model for product recycling desirabil- ity, Journal of cleaner, 154, 51–60. doi: 10.1016/j.jclepro.2017.03.201 The Circular Economy Concept - Regenerative Economy. (n.d.). Retrieved from https://www.ellenmacarthurfoundation.org/circular-economy/overview/concept Tolley, C., & Fraser, P. (2017, May 08). The importance of working with mental illness. Retrieved from http://www.sbs.com.au/news/insight/article/2017/05/08/importance-working-mental-illness Zufelt, C. (2015, December 04). Recycled plastic trash. Retrieved from http://inhabitat.com/carter-zufelt-uses-an-ingenious- new-process-to-create-art-out-of-recycled-plastic-trash/

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 57

Do Designers Dream of Electric Sheep? a Utopian Essay on Design Ethics

Diogo Gonçalves a, Lucy Niemeyer band Cristina Ventura c

a UNIDCOM/IADE, Lisbon, Portugal [email protected]

b UNIDCOM/IADE, Lisbon, Portugal [email protected]

c ISEC/UNIVERSITAS, Lisbon, Portugal [email protected]

ABSTRACT

A brief essay on Design ethics. We address the issue of normative ethics and fairness in ethics decision. Our approach is that the origin of morality is based on empathy and the ability of altruistic decision. We consider the dilemma of individual-universal ethical decision in a world of cultural diversity, a dichotomy that must be supported by moral credibility to support ethical actions. We argue that if the Western rationalism is a necessary prerequisite in the ethical decision, it should not be devoid of emotions that enable each individual to belief in their applicability, even utopian. In the narrative, we use allegories to Ridley Scott science fiction movie “Blade Runner” and also to its original story, Philip K. Dick novel "Do Androids Dream of Electric Sheep?".

Keywords: Design, Design Ethics, Moral Authority, Empathy, Utopia

INTRODUCTION: DESIGN, UTOPIA & SHEEP’S

A men who would letterspace lower case would steal sheep This title is a famous comment from an American typographer, Frederic Goudy (Bringhurst, 2004, p31): when receiving a prize in public, he looked at the badly spaced text and couldn’t resist criticizing the design.1 Later on, the authors Spiekermann and Ginger grabbed the concept with the book “Stop stealing sheep and find out how type works” – it’s about typographic design with a clear message: is necessary understand how things work instead of making some messy with it. Currently, expressions such as inclusiveness, social rights, sustainability, ecological footprint, etc., are ethical concerns that represent the broad concept of professional responsibility, a set of expressions that are increasingly more frequent in the modern Design discourse. As so, is expected that each Designer is able to embrace all this ethical concepts and act accordingly, enabling the construction of a better future for mankind… that’s to say that Design aims to contribute to a better and utopian world. This brief introduction allow us to present the core of the present essay: Design is mostly the result of the actions of each individual Designer, and since the aim of Design is a utopian world, each Designer must be able to: (i) predict the result of his actions and (ii) have the moral authority to support his actions. We will focus on the question of what origins the notion of social justice and how well prepared are humans to apply it. So, stealing (again) the “sheep” idea, are the Designers nowadays “stealing sheep’s” – making some kind of mess – with his notion of Social Responsibility2 or, even better, how are we Designers, since I am a Designer,

1 In fact, his original comment concerned blackletter fonts, not lowercase, and he used a strong and very colorful word instead of “steal” – this polite version remains for history but at the time brought some discomfort in the event especially as the responsible designer was in the audience. 2 In the context, we consider that Social Responsibility is an ethical framework which suggests that an entity, be it an organization or individual, has an moral obligation to act for the benefit of society at large.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 58 Do Designers Dream of Electric Sheep? a Utopian Essay on Design Ethics dealing with these concepts to build an utopia? Following, we present a very brief historical trip to Design and Utopia that can be read as a children's story, a tale about the morality in which the sheep is the main character.

Sheep Will Never Make Insurrections In the context on the declaration of American independence someone asked to Benjamin Franklin about taxes: “Being our property, why should they [the slaves] be taxed more than sheep? – there is a difference, said Franklin, sheep will never make insurrections.” (Bancroft, 2011, p52). Design is born in England with the advent of the first Industrial Revolution and “it was in the woolen manufacture that England especially excelled on the eve of the industrial revolution. Sheep flourished on the English pastures and yielded a high quality wool.” (Deane, 2003, p88). The industrialization process started a rural exodus that drove the peasants of their land that are surrounded in enclosures dedicated to livestock, more specifically, for sheep. If sheep textiles were the excellence of British industry, the social fabric had some stains on the human condition of migrated rural workers to unhealthy cities that provided the manpower for the industry. In 1884 Friedrich Engels wrote about what he sees in British industrialized towns: “The great towns are chiefly inhabited by working-people; (...) live wholly upon wages, which usually go from hand to mouth. (...) Every working-man, even the best, is therefore constantly exposed to loss of work and food, that is to death by starvation, and many perish in this way. The dwellings of the workers are everywhere badly planned, badly built, and kept in the worst condition, badly ventilated, damp, and unwholesome. The inhabitants are confined to the smallest possible space, and at least one family usually sleeps in each room.” (Engels, 2005, p74).

The Utopian Sheep’s Hut The mass of uprooted workers that Engels refers gradually comes to manifest in insurrections against precari- ousness and the conditions of life. On 13 November 1887 – three years after Engels remarks – occurred the first U.K. social conflict known under the name Bloody Sunday, with a police charge on a workers demonstra- tion in Trafalgar Square in which William Morris, from the Arts & Crafts movement, was one of the socialist leaders (Thompson, 2011, p498). On the evening of that same day, a revolted Morris made a fiery speech entitled "The Society of the Future", a utopian vision of the work, the machine and the art. He said: “The man whose supreme pleasure is to spend a summer night in a thatched hut, surrounded by his sheep would be no less able to enjoy the large Community Hall in all its splendor” (Morris, 2003, p105) – the Morris Community Hall has a clear medieval inspiration and represents the interactions in a ideal space merging the beautiful and the social, the union of the art with the socialism, an ideal space-guild for the Morris utopia. A similar medieval concept of space-guild was the inspiration for the front page of the 1919 Bauhaus Mani- festo, with a woodcut from Lyonel Feininger, Kathedrale (Cathedral) but the three pages of text from Walter Gropius makes no mention to it. However, the Cathedral Middle Age aspect with a Cubist flavor was a specific desire from Gropius to the front cover: he wanted to connect the school to the concept of Bauhüttem (also the inspiration for the name Bauhaus), the Medieval Mason's Lodges where groups of architects, artists and craftsmen could produce a unified artwork (Bergdoll, 2009, p64). This Utopian guild, merging artists with craftsmen was symbolized by the Cathedral, as in another 1919 Gropius Manifesto, “What is Architecture?”, written for an exhibition under de theme Utopia: “Structures created by practical requirements and necessity do not satisfy the longing for a world of beauty built anew from bottom up, for the rebirth of that spiritual unity which ascend to the miracle of the Gothic Cathedrals” (Danchev, 2011, p161). Bauhaus was closed in 1933 by the Nazi regime and some of is relevant teachers immi- grated to USA, influencing new generations of students.

The Sheep and the Dystopian Cathedral In Europe, the Bauhaus utopia was reborn in Germany in 1953, with the School of Ulm (Hfg-Ulm), with a similar ideology and curriculum, preserving the utopian-humanistic approach, embodied with is democratic framework. Then, in the sixties, two ideological/pedagogical factions emerged in Ulm: from Tomás Maldonado the Scientification of Design led to a radical new curriculum: “While Bauhaus based its work on a belief in the essential freedom of individual human character in a society and culture influenced by industrialization, Maldo- nado viewed industry itself as the central agency shaping culture” (Buchanan, 2007, p40). As a reaction, a dissimilar approach from Otl Aicher: Design is not a science, Design is Social Responsibility. These two concepts of Design clashed in 1966, when Aicher took control of the school and ended with is democratic constitution and procedures, as well as the participation of the students in the pedagogy and in the Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 59 Diogo Gonçalves, Lucy Niemeyer and Cristina Ventura aims of the school. In the new Aicher Ulm–Dystopia it was possible to rule in an authoritarian form. For the posterity and important for our context, “Aicher postulated that the social responsibility of the designer can be expressed in the idea that there is a moral dimension inherent to design” (Spitz, 2015, p14). It is here that ends our brief historical "fairy tale": the Bauhaus-Utopia ended in the Ulm-Dystopia with the introduction of a moral/ethical approach to the question “what is the aim of Design”. Modern concepts of Design assumes – explicitly or implicitly – an ethical approach to Design. Because De- sign is also praxis, action and engagement, is necessary a moral umbrella, a set of moral principles to act accordingly and to enable Moral Authority, “sometimes mistaken for the right to judge others, Moral Authority is the relative credibility and weight of a source’s moral judgments, beliefs, principles, rules, intuitions, and value- commitments” (Potter, 2011, p709). Thus, to enable an ethical approach to Design is necessary to be ensured that each act has Moral Authority to induce fairness and justice.

DESIGN & MORAL AUTHORITY

Do Androids Dream of Electric Sheep? In the same year as Hfg-Ulm school was closed, 1968, Philip K. Dick creates is famous Sci-Fi novel “Do Androids Dream of Electric Sheep?” that in the eighties will be adapted to a movie, “Blade Runner”. The context of the story is moral, empathy and humanity in a dystopian post-apocalyptic future, after a terrible world war almost ended the life in the planet. There are few humans on earth (most are in colonies on other planets) and forms of animal life are rare. Trying to avoid possible wars in the future, the society established some obligation of humans to have a pet, which they should take care and, above all, humans should create bonds of friendship and empathy. Since animal life is so rare, most earthlings’ humans can only get a robot, an imitation of life. The hero, a very rational man called Rick Deckard – a phonetic play on the name “René Descartes” (Nikolchina, 2014, p64) – has is synthetic pet in the terrace, a robotic sheep. In the novel, trough the use of empathy the humanity can be educated to develop senses of altruism and justice, because this Cartesian-hero is also a police officer and “a dull, dreary, mechanical, unemotional man. His ex-wife calls him sushi-cold-fish (...) we perceive his apathy, alienation, lack of empathy, and lack of sensitivity toward injustice, suffering, and killing” (Kerman, 1991, p12). But the Cartesian Deckard has a love-hate feeling to his pet, because no matter how much he cares for it, the sheep is an android and incapable of empathy: “He [Deckard] thought about his need for a real animal; within him an actual hatred once more manifested itself toward his electric sheep, which he had to tend, had to care about, as if it lived” (Dick, 2010, p20). Is our human sense of justice based on empathy? The Sociobiology proved that empathy is a universal principle in humans and is on the basis of altruistic behavior. By definition, Empathy is “the capacity to understand what another person is experiencing from within the other person's frame of reference, i.e., the capacity to place oneself in another's shoes.” (Bellet, 1991, p1831). Contemporary Neuroscience has a major contribute to an understanding of the neural basis for human mind reading and emotion sharing abilities, the mechanisms supporting empathy. The Mirror Neurons are specialized neurons active when an animal performs a certain act, as when he observes other animal doing the same act (Cattaneo & Rizzolatti, 2004, p169). These neurons mimic other animal behavior as if his himself performing the action. They have been observed directly in primates and there is evidence that they exist in other animals, including humans. They are active even with unseen actions (Keysers, 2004, p505), like in language, as in children with the mimics of the mother language and mouth movements or even when reading, as in the ability of emotions with a character in a story (Keen, 2006, p221)3. It’s possible to connect empathy as the support for altruistic behavior: “Empathy evokes an altruistic mo- tive, the ultimate goal of which is to protect or promote the welfare of the person for whom empathy is felt (…) reflects feelings of compassion, sympathy, tenderness, (…) and also been linked to prosocial behavior.” (Stocks, Lishner, & Decker, 2009, p649). Altruism is the principle or practice of concern for the welfare of others (Ahmad & Batson, 2008, p5) and the terms altruism and cooperation may be synonymous: cooperation is widely used in game theory discipline, whereas evolutionary biologists give preference to the term altruism. Several evolutionary theories explain the human’s interest in altruism practice using the dividend concept, a Darwinian approach: what is individual or group advantage in the altruistic behavior? The return can be the self-

3 Suzanne Keen has an interesting theory, the Narrative Empathy, about the empathic process in reading. In her book “Em- pathy and the Novel”, Keen holds that novel reading, by eliciting empathy, encourages prosocial action and good world citizenship and alerts to the social perils of illiteracy, catalyzing fears that the decrease of a reading public brings a population incapable of feeling with others.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 60 Do Designers Dream of Electric Sheep? a Utopian Essay on Design Ethics preservation and/or the preservation of genes. These theories present some failures4 and also they don’t give a great attention to Culture as a phenomenon. A recent theory, Dual Heritage, “adopt the premise that the human mind evolved as a product of two evolutionary systems – one based on genetic inheritance and the other on cultural heritage – the theory of dual heritage presents a perspective able to combine biology and the social sciences” (Almeida & Abrantes, 2012, p28). Culture is information stored in the brains of individuals acquired through social learning mechanisms like imitation or teaching but also as individual, like the ability of observation. In the Dual Heritage approach, cultural variants present in a particular group are modified over time – initial cultural variants are different from subsequent cultural variants. Thus, human culture is not static and produces cultural accumulation, as new cultural variants of new generations are added to the above, a distinctive feature compared to other animals.5 As a result, specific behaviors aggregated to empathy and altruism can be, in concept and in his day-by-day practice, dissimilar – humans with different cultures are all emphatic-altruist but the concrete actions can vary, and that is a problem related to an individual versus universal concept of justice.

Napoleon, the protector of the sheep-fold In the 1944 novel “Animal Farm”, George Orwell made a critic to the equity in the Communist-Stalinist regime, using the relations of power between animals. In the farm – the communist regime – the sheep are always following the ideas of other animals and the pigs are the dominant class, always finding ways to cheat the other animals with the food distribution. The supreme leader was the pig Napoleon, for whom the pigs "liked to invent such titles as Father of All Animals, Terror of Mankind, Ducklings' Friend, Protector of the Sheep-fold, and the like” (Orwell, 1944). The novel was an inspiration to another allegory, the 1997 Pink Floyd album “Ani- mals”, but this time criticizing Capitalism and the social conditions in Britain. In the lyrics of the song Sheep: “Bleating and babbling I fell on his neck with a scream / Wave upon wave of demented avengers / March cheerfully out of obscurity into the Dream.” (Waters, n.d.) – a expectation on the rising of the common men to build an utopia. Both works, criticizing two different political-utopias, introduces again the idea of utopia with a moral problem: in this better future, how should fairness and social equity work? From the French Revolution (1789- 1799) came the famous Liberty, Equality, Fraternity, an inspiration that the real Napoleon will soon communicate to all Europe by the force of his cannons. But was also the time for the Age of Enlightenment, when a set of philosophical ideas centered on reason as the primary source of authority and legitimacy was born. These philosophers raised a dilemma about fairness in social justice, because if the French Revolution concept was Equality, the problem is Equity, the practical approach to equality regarding the differences between individuals or groups, the individual versus the universal – and this Fairness problem remains until nowadays. The ideas of fairness and unfairness are basic ethical predicates within almost all moral and ethical theoretical frameworks. To an individual, the perception of fairness interconnects rules and social norms regarding (i) how outcomes should be distributed, (ii) decisions for making such distribution, (iii), how information is provided during the process (iv) and how people are treated interpersonally (Peiró, Martínez-Tur, & Moliner, 2014, p4694). In any context people are able to evaluate the fairness of a situation, and these individual judgments of justice have a major impact in the human’s psychological well-being (Fondacaro, Dunkle, & Pathak, 1999, p15). The feeling of injustice is even considered a critical health factor – an individual prolonged feeling of injustice is a heavy load to carry. Although the terms fairness and justice could be used in similar forms, they are also different: “justice, very broadly speaking, refers to each person getting what he or she needs, deserves, or is entitled to. Fairness, again broadly speaking, refers to judgments and evaluations based on some criteria of impartiality” (Murphy, 2011, p336) – a concept of fairness comes before and is prior to any substantive concept of justice. The principle of impartiality – a Cartesian approach – has a major role to produce Moral Authority: it’s assumed the necessity of some kind of personal neutral ground to make judgments and also to produce normative and prescriptive rules (laws). In sum, to have Moral Credibility beyond the boundaries of different cultures is necessary the use of Reason, a western heritage from the European philosophers that dominates the idea of fairness and justice for many centuries – but they where assuming that each rational person is able to perform an impartial judgment, without unwanted influences.

4 Most failures are based on behaviors of individuals who falsify their own behavior to gain advantages over the others, so being non-altruistic or having an opportunistic social behavior can produce the same or even more individual advantages. 5 The theory of Dual Heritage has similarities with the concept of Memes as in the Dawkins book "The Selfish Gene", because it relates to the variation of cultural patterns; however the authors consider that unlike Memetics, cultural variants do not need to be discrete or even replicable (Almeida & Abrantes, 2012).

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 61 Diogo Gonçalves, Lucy Niemeyer and Cristina Ventura

To be an immaculate member of a flock, one must above all be a sheep oneself Moral Credibility comes from common assumed norms that are dynamic – the common moral principles can be modified, normally by law, but also by the society: the Moral Entrepreneurship6 is a theory from Sociology and refers to the processes involved in creating an awareness of moral issues and following them through into the statute of common principles. Moral Entrepreneurs are the rule-makers, campaigners, and enforcers of moral modifications, and can act as an individual or as group (like lobbies or social movements), persuading the society to adopt particular moral viewpoints. As an extreme social behavior, the influence of Moral Entrepreneurs can raise Moral Panic, when “the media, politicians, and the public reinforce each other in an escalating alarmist response that exaggerates the magnitude of the threat and produces urgent calls to ‘do something’”, (Bishop & Feld, 2014, 2766) , thus being able to influence the public opinion or the common ground of moral principles. The mass-media is obviously the voice of the Moral Entrepreneurs: “The concentrated impact of moral entrepreneurship through the restricted broadcast and print outlets of the 1960s is difficult to replicate in the twenty-first century, where there is a much greater degree of choice and customization in media use patterns. Alternatively, of course, telecommunications, computer and broadcast convergence can also enable the insinuation of moral panics into many more media spaces” (Rowe, 2009 p28). When a Moral Panic is induced or installed, it can brings Moral Crusades, collective actions that aims to modify the society moral and beliefs, as in anti-tobacco campaigns or the sexual diversity initiatives. These social movements can be based on a Cartesian approach to the theme, but they tends to be collectively connected by feelings: “Emotions condition and accompany collective action and social movements. (…) Preexist- ing social networks of friends and neighbors are crucial for mobilization – they are networks of trust and loyalty. Events of social injustice may provoke moral shocks, indignation, and anger and thus move citizens to action. (…) Activists strive to build emotional solidarity and a sense of collective identity” (Yang, 2007). Thus, these collective movements have a reason/emotion ratio to function but, in fact, each individual (each one of us, humans) is also incapable of a real Cartesian impartiality in the use of the Reason – in the 1994 book “Descartes' Error: Emotion, Reason, and the Human Brain”, the Portuguese neurobiologist Antonio Damásio found evidences that emotions embraced every supposed impartial-reason decision in the human brain… a severe blow in the Western cultural belief in the impartiality of judgment. In sum, if each human is able to make fairness-judgments to perform acts of justice, the fairness must be supported by a set of moral principles to produce moral credibility. So with the moral credibility, it is possible to apply justice in a culture or across many cultures, supported by a "safe" value, rationalism. But this principle of cancellation of emotions does not occur either in individual attitude or in group actions, even in those that aim altruistic purposes and higher moral principles. Furthermore, emotional responses to fears or beliefs can be transformed in collective initiatives that can have a major influence in personal judgments – that’s why Albert Einstein said “to be an immaculate member of a flock, one must above all be a sheep oneself” (Einstein, 2010, p188), a reminder that the individual values and personal ethics are a major social value even if they contradicts the majority.

DO DESIGNERS DREAM OF ELECTRIC SHEEP?

Retrieving the Philip K. Dick novel, the thread of the narrative is based on the hunt for a group of anthropo- morphic androids, the Replicants, outlaws who fled human colonies and returned to planet earth to find its creator, the scientist who conceived them. Replicants crave life, they have a scheduled expiry of four years and are quasi-human in appearance and intelligence. The only way to distinguish between humans and replicants is the use of a machine that detects variations in pupils in response to logic dilemmas that requires empathy and emotions. Dick’s novel places a singular mindset to the Cartesian hero Deckard: he is an unemotional rationalist but he can only find humanity – in the sense of what distinguishes a human from other life forms – evaluating the ability to have emotions trough the use of empathy. We have an emphatic neural architecture, produced by evolution that produces the states allowing us to understand the emotional experience of others and also altruistic behaviors, as in the Blade Runner movie, when an emotional scene is performed by the actor Rutger Hauer7, who is the leader of runaways group of

6 Moral Entrepreneurship is a concept from Howard S. Becker in the 1963 book "Outsiders: Studies in the Sociology of Devi- ance". The concept is predicated upon the premise that deviance is inherent neither to a particular behavior nor to a particular rule breaker, but that it is nothing more than a label successfully applied by more powerful moral entrepreneurs to rule violators. (De Young, 2007). 7 The “Tears in rain monologue” is also famous in the Sci-Fi culture because the actor Rutger Hauer made changes in the text without the knowledge of the director Ridley Scott. The final monologue is: “I have known adventures, seen places Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 62 Do Designers Dream of Electric Sheep? a Utopian Essay on Design Ethics androids. Hauer saves Deckard from death and die almost at the same time, because his four years time-life ended. “Saving Deckard is the final expression of Batty’s [the android leader] spiritual fullness. The replicant is more compassionate and forgiving than is human pursuer” (Vest, 2009, p24). When dying, the replicant releas- es a dove, a symbolic attitude – gaining freedom – because the Replicants are born to be slaves. “The film’s immoral industrialized society” (Vest, 2009, p28) gains a status of a Dystopia and if the society is unfair, the Cartesian-citizen Deckard has more feelings for an electric sheep than for almost-humans, the replicants. Nowadays, “the word ‘Utopia’ has come to stand for all ideal places (…) Utopia translates literally as ‘no place’ is generally overlooked in its application to ideal communities both actual and imaginary.” (Howells, 2015, p6). March Bloch,8 one of the most important thinkers on the theme, “persuades us that Utopia, the prospect of a real and better world that is yet to come, is encoded in our Art, Literature and Popular Culture. Here we see life as it ought to be – as a shining and radical alternative to the way in which the world currently is.” (Howells, 2015, p35). Do Designers dream? For Bloch, the Dream is a major human value, because “everybody’s life is pervaded by daydreams: one part of this is just stale, even enervating escapism, even booty for swindlers, but another part is provocative, is not content just to accept the bad which exists, does not accept renunciation (…) dreams of a better life.” (Bloch, n.d.). From William Morris until today, the superior aim/dream of Design is to contribute to the society with fairness and social justice, and this mindset must be supported by a set of moral principles that provides each one of us moral credibility. If rationalism has a major role in the ethical decision, each one of our rational decisions is already "contaminated" with emotions. The Design praxis enrollment must be assumed with emotions and utopia-expectations, the Bloch idea of Dream, otherwise will not be possible to believe in the fairness of each action in the universal diversity of cultures. “Bloch’s work demonstrates that if we understand Utopia as the desire for a better way of being or of living, then such imaginings are braided through human culture, and vary from the banal to the deeply serious, from fantasizing about winning the lottery (whether or not one has a ticket) to a (sometimes) secularized version of the quest to understand who we are, why we are here and how we connect to one another.” (Levitas, 2005, p6).

A SHEEP EPILOGUE

A brief return to the Blade Runner movie: in the end, the Cartesian Deckard assumes is newborn emotions and love for the (supposedly) niece of the replicants creator, Rachel, a symbolic name from Hebrew that means “ewe”, a female sheep. Rachel suspects that she could be a replicant, and ask Deckard to do the logical empathy test to prove that she is human. Apparently she fails the test, she’s not human and “Deckard’s job is to retire (kill) androids which (who) are defined as organic machines. He can do so only as long as he can convince himself that the androids have no feelings, no empathy” (Gordon, 2009, p333).We will never truly know if Ra- chel is an android but the spectator as the intuition that Deckard is lying when he denies. He already knows that she is a replicant, perhaps with less than four years of life, but Deckard redeems himself from is pure Car- tesian rationalism with his altruistic gesture, avoiding her to know and even risking his own life to save her. In the novel, the rationalist Deckard “has the courage to accept his emotions as a guarantee of his human condition, a key point in the moral dilemma” (Noguero, 2014, p268), and engage a newborn ethics that contradicts his own beliefs, mindset and culture… perhaps that's why he has a Suffolk sheep, a black one. While Designers in a global world, perhaps the support for individual Moral Authority could be established trough a question: Do Designers Dream of Being Black Sheep?

you people will never see, I've been Offworld and back...frontiers! I've stood on the back deck of a blinker bound for the Plutition Camps with sweat in my eyes watching the stars fight on the shoulder of Orion. I've felt wind in my hair, riding test boats off the black galaxies and seen an attack fleet burn like a match and disappear. I've seen it...felt it!”. The scene of the movie is freely available from many sources on internet. 8 March Bloch (1885-1977) was a Marxist philosopher and is work focuses on the thesis that in a humanistic world where oppression and exploitation have already been eliminated there will always be a truly revolutionary dynamic force able to change society by utopist expectations, trough the force of the dream. Nowadays is work is especially remembered on utopia, in which he is frequently referred.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 63 Diogo Gonçalves, Lucy Niemeyer and Cristina Ventura

REFERENCES

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Engels, F. (2005). The Great Towns. In The Condition of the Working-Class in England in 1844. Project Gutenberg. Retrieved from http://www.gutenberg.org/files/17306/17306-h/17306-h.htm Fondacaro, M. R., Dunkle, M. E., & Pathak, M. K. (1999). Procedural Justice in Resolving Family Disputes: A Psychosocial Analysis of Individual and Family Functioning in Late Adolescence. Journal of Youth and Adolescence, 27(1), 101–119. http://doi.org/10.1023/A:1022832932752 Gordon, J. (2009). Animal Studies. In M. Bould, A. M. Butler, A. Roberts, & S. Vint (Eds.), The Routledge companion to science fiction (p. 509). New York: Routledge. Howells, R. (2015). A Critical Theory of Creativity. Palgrave Macmillan. http://doi.org/10.1057/9781137446176 Keen, S. (2006). A Theory of Narrative Empathy. Narrative, 14(3), 207–236. http://doi.org/10.1353/nar.2006.0015 Kerman, J. (1991). Retrofitting Blade runner : issues in Ridley Scott’s Blade runner and Philip K. Dick’s Do androids dream of electric sheep? 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The “cusp of life” in science fiction films: the meaning of human existence in “blade runner.” Comunicazioni Sociali, 2(36), 265–276. Orwell, G. (1944). Animal Farm. Retrieved February 18, 2016, from https://ebooks.adelaide.edu.au/o/orwell/george/o79a/ Peiró, J. M., Martínez-Tur, V., & Moliner, C. (2014). Perceived Fairness. In A. C. Michalos (Ed.), Encyclopedia of Quality of Life and Well-Being Research (pp. 4693–4696). Dordrecht: Springer Netherlands. http://doi.org/10.1007/978-94-007- 0753-5 Potter, M. K. (2011). Moral Authority. In D. Chatterjee (Ed.), Encyclopedia of global justice (pp. 709–710). Dordrecht ;;New York : Springer,. Rowe, D. (2009). The Concept of the Moral Panic: An Historico-Sociological Positioning. In Moral Panics, the Media and the Law in Early Modern England (pp. 22–40). U.K. Palgrave Macmillan. http://doi.org/10.1057/9780230274679_2 Spitz, R. 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Thompson, E. (2011). William Morris romantic to revolutionary. Oakland, CA : PM Press,. Vest, J. (2009). Future imperfect : Philip K. Dick at the movies. Lincoln: University of Nebraska Press. Waters, R. (n.d.). Sheep Lyrics. Retrieved February 18, 2016, from https://www.justsomelyrics.com/306909/roger-waters- sheep-lyrics.html Yang, G. (2007). Emotions and Social Movements : Blackwell Encyclopedia of Sociology. http://doi.org/10.1111/b.9781405124331.2007.x

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 65 Social Sustainability Education Experiences beyond the borders of traditionalism

Susana Gonzaga and Valentina Vezzani

Department of Art and Design University of Madeira, Portugal [email protected] [email protected]

ID+ Researchers www.idmais.org/pt-pt/

ABSTRACT

This paper reports the study on three design for social sustainability projects, evolved through action research. These projects aim to understand and reflect on how to define an educational model able to prepare future designers living in the context of a small and peripheral territory like an island, to be active and entrepreneurial for the good of their society.

Keywords: design education, collaboration, design for social sustainability, insular communities

INTRODUCTION

Discovered by Portuguese sailors in 1419 Madeira archipelago, is located in the North Atlantic and is a Portu- guese territory since then. The small volcanic islands have always been a very important economical region for Portugal due to incomes of sugar production and tourism. The good weather conditions all along the year have put Madeira as a privileged site for wealthy foreign figures since late 17th century. Tourism has been along with sugar and wine production the major factor for economic development and sustainability for decades now. Industry is still strongly connected with local maintenance, like food supplies, wine production, fruits ex- portation and some craft production are the main economic resources. In the last couple of years graphic and interiors Design gained relevance on the island, requested mainly by hotels and small restaurants that wanted to attract young publics. Design as a strategic partner is still very unknown even if the higher education on fine Arts has been created on the island in 1957. The Design Bachelor (BA) was created in 1978 affiliated with the old Fine Arts institute. In the late 90’s the general University was established and the institute merged in. During these years most of the Design graduated students found jobs in the public teaching system, that was lacking of professionals from this area. For twenty years the design curriculum was dedicated to product design, with a strong component of Arts theory and practice. In 2006 the BA was restructured due to Bologna requests. Back then the coordination team, considered the region conditions and some of other Portuguese programs and established a new curriculum that embraced the fundamentals of product and graphic communication design creating a design fundamentals bachelor program where students learn the basics of design specialities. In 2013 the plan was re-structured once again. On one hand the program was under an assessment process, on the other the contents and objectives of the program needed an urgent upgrade. Considering international design schools programs, the evolution of the theory, practice and design education methods, a new study plan was defined. A new coordination team brought new teaching staff that introduce into courses plans a more contemporary approach to design theory, practice and education mainly focused on collaboration, learning-by-doing, specific software’s and production techniques. A hard process started in order to establish protocols with foreign universities, local

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 66 Social Sustainability Education. Experiences Beyond the Borders of Traditionalism companies and industries to approach the curriculum to design practice and professional experience, trying to rise the quality of the bachelor to the European standards. The coordination group, wanted to establish a strategy that helped the students to explore new design opportunities, new design production challenges, new approaches to business, industries and social awareness. In this sense, on the last semester of the third year we decided to introduce the Human Centered Design to students. The contemporary socio-political and economic context we live in and the threats we see for the future of our societies, economies and well-being assign to Design education the duty to prepare the future generations as active actors of the ‘change’ toward sustainable world. We understand that future designers should be not only as problem-solvers, but also sense- makers and place-makers. This is relevant when in peripheral territory like the one of an island: “regenerating ‘the local’ by creating a new ecology of places: an ecosystem in which local culture and production are able to live and regenerate in a balanced relationship between local and global” (Manzini, 2011, p.45). In this way we wanted to understand if these kind of projects truly help students to learn, develop and embrace a:

§ More autonomous project management skills; § Applied contents and syllabus learned through the bachelor; § A new (in their study plan) methodology and design process; § To learn to design within large groups and with external entities; § To create, develop and produce design artefacts that sustain their ideas and purposes; § To face specific and real conditions that define a design brief; § To develop and experience empathic relationships increasing their social awareness.

We started this in 2014 and three big projects have been done. The educational objectives are the same in all, but the design brief changed in order to allow us to understand which of three approaches was the most effective.

TEACHING FUTURE DESIGNERS TO FOSTER COLLABORATION AND SOCIAL COHESION IN INSULAR COMMUNITIES

Design Education: Competencies for Social Sustainability

One of the objectives of today’s design educators is to encourage young adults to design for sustainability to confront present and future challenges in our cities, economies, and societies. In particular, social sustainability is largely neglected in mainstream sustainability debates (Woodcraft et al., 2011, p.15) as in the current sustainable design practice (Tang & Vezzani, 2011). Compared to environmental and economic discourses, social sustainability is more “difficult to define and even more difficult to implement as it involves issues as diverse (and unquantifiable) as ethics, values, active citizenship, cultural diversity, holistic perspectives and personal as well as professional responsibility”(McMahon & Bhamra, 2010, p.2). Although this difficulty, societal and human concerns must be included in the education of future designers to see the youth becoming as responsible thinkers and doers. In order to make the students understand abstract concepts related to social sustainability, as also why and how they can contribute and design for change, it is necessary to propose them practical projects. Through a learning-by-doing approach they become aware of their own knowledge, capacities and limitations; they make mistakes and learn from them. By facing real challenges and people they become aware of the importance of societal issues, they give value to human interactions, and design for people’s well-being and happiness. Future designers can’t be taught only considering practical skills, such as for example visual communication, idea generation, and design development. It is fundamental to offer them learning environments and design opportunities where to develop competencies for collaboration, socio-entrepreneurship and user centred design (O’Rafferty et al., 2014). These require other skills and capabilities such as critical and holistic thinking, co-operation in co-design projects, multi-disciplinary approach and acceptance diverse cultural backgrounds, and finally creativity. All these have something in common with those competencies McMahon and Bhamra (2016) suggest as enablers to understand sustainability and design responsibly (figure 1).

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 67 Susana Gonzaga and Valentina Vezzani

Figure 1. Competencies for Sustainability in Design, from McMahon & Bhamra (2016).

The Young Foundation propose social sustainability as: “A process for creating sustainable, successful places that promote well-being, by undertaking what people need from the places they live and work. Social sustainability combines design of the physical realm with design of the social world – infrastructure to support social and cultural life, social ameni- ties, systems for citizen engagement and space for people and places to evolve.” (Woodcraft, et al., 2011, p.16)

Starting from this definition and looking at the geographical and social context in which we teach Design, it is important to prepare the (local) future designers to contribute to their own insular territory and communities. As sense- and place-maker young designers must be educated to encourage the development of new practices also by building around people’s capabilities, to deconstruct cultural schemes, to support social and cultural life able to engage citizens with new sustainable behaviours. To get there, students must be encouraged to collaborate, share and communicate across several borders, disciplinary, socio-cultural and also geographical. Considering Madeira conditions, this approach to design ensures that students face complex problems that could be also found in similar territories and contexts all around the world.

Fostering a Culture of Collaboration To face the complexity and fast evolution of today’s and future societal, environmental, economic, and political issues, designers must work in team with other types of expertise and disciplines. When dealing with social aspects and working with communities, designers are not only ‘facilitators’ but also ‘therapists’ able “to change the perception of things in order to change the emotional and behavioral reaction, ultimately in order to change the understanding of a problem” (Meroni, 2008, p.36). Collaboration allows designers to hear other voices, build on both collective and individual knowledge and develop softer skills (Tang & Vezzani, 2014) during the cyclical process of consultation, negotiation, compromise, decision-making, agreement and reflection (McMahon & Bhamra, 2016; Chiu, 2002). Collaborative learning exists when individuals share, open discussions, create shared knowledge, and are active participants in all this. According to the literature, McMahon & Bhamra (2016) collect the criteria which determine the success or failure of collaboration: interpersonal ties, the role of the individual, compromise, holistic thinking, sharing ideas, and positivity. In addition to these, synergy and communication are considered as key contributors toward collaboration. Communication is critical in collaboration. It doesn’t need to be always positive and successful, because also conflicts and mistakes can teach the team members to improve their own facilitation capacity, or type of language. Collaboration is based on four closely related acts such as coordinating, consulting, communicating and cooperating, and to be effective it must enhance the individuals to create and agree on a shared knowledge and understanding, and purpose (Head, 2003, p. 53). In a collaborative learning context the teacher is like a coordinator and mediator for the students working in team. By applying this strategy into a class teachers ensure a learning process more enjoyable and fruitful experience. In a higher education environment this approach ensures also that all students are more engaged with the contents, with each other and more motivated to start their professional life.

Three Collaborative Projects Toward Social Cohesion and Well-being For the last three years we have introduced Design for social sustainability projects as a strategy to understand the learning benefits of this in design students. From a learning perspective to design for “real needs” is more effective for students to understand and deal with the complexity of social sustainability. Lofthouse (2013) identifies five social themes that (student) designers should consider: 1) to encourage health and well-being; 2) to encourage participation and belonging; 3) to encourage empowerment and promote human competence; 4) to enhance social interaction, communication and engagement; 5) to enrich users’ lives or increase quality of life for all.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 68 Social Sustainability Education. Experiences Beyond the Borders of Traditionalism

Our students were suggested to consider these themes when designing their interventions in the neighbourhood. For all teams, the 2nd, 4th, and partially the 5th themes were considered as the priority to impact positively in the local social context. To deal with these themes it was necessary for the students to develop skills and capacities to work in team, collaborate with each other, with locals and institutions. Although the differences in terms of design brief, organisation, number of teams and locations (Figure5), the aims of these three projects remain the same: • To make the students autonomous during the learning process; • To make the students face real problems and challenges not only to be realistic but also to build confidence and sense of responsibility; • To make the students collaborate not only with their own colleagues, but especially with non- designers, such as inhabitants, institutions and enterprises and understand the system of stakeholders.

THE PROJECTS Social Design “Bairros Da Madeira” (Social Design For Social Housing In Madeira)

This was the first proposal that introduced the Human Centered Design methodology in the Design Bache- lor. The brief considered the study and analysis of one social housing neighbourhood, understanding their needs, and then to design actions that fosters collaboration and interaction between local agents, inhabitants and students. To conclude the project they should organize a public event to present the final results to the community. Each team chose one from a given list of Madeira social housing neighbourhoods. The big challenge was to understand people's life and needs, considering that these should be solved through a design solution. By the end of June, we had 5 events showing up projects developed in five different areas of the island.

Campainha do Bairro (Neighborhood Bell)

Students were asked to design the event for the European Neighbours’ Day in collaboration with the local community and organisations. The class was divided in two big teams and each was asked to select an urban area where to engage and co-design the international event. For this project the teacher gave the students the opportunity to choose the area they wanted to work on. The teams were asked to share at class the results of their research on field as also the one regarding the case studies. Surprisingly they chose poor and problematic social housing quartiers, influenced by previous colleagues projects.

Big Lunch

The students were asked to promote social participation and collaborative design by designing the event “Big Lunch”. The inspiration came from the same name British project started in 2009. The class was divided again in two big teams and asked to choose a neighbourhood where to design and organise the annual Big Lunch. Each team was asked to identify a team coordinator, responsible of task and work deliveries; but also the list of the members with their own tasks and expertise. The teams were asked to share at class the results of their research on field as also the one regarding the case studies. This approach was added to make clear to the students that a collaborative design culture is possible only if build in an environment that really accept it. The teams were asked to take care of all the organisational aspects of an event, starting from local people’s needs and expectations.

METHODS

In this part we’ve considered the three projects as case studies. So in order to understand if design for social sustainability is a good learning model to be implemented in a higher education design program, we’ve made interviews with students and institutions, to analyse the impact these projects had on the different actors. The basic information of the three projects described above, put in comparison in figure 5. To reach a more iterative process, understand the development implementation and to evaluate the all process (McMahon and Bhamra) we’ve choose an Action Research methodology to reflect at the end of each

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 69 Susana Gonzaga and Valentina Vezzani project, on learnings and potential improvements. In particular, it is intended to reflect on factors that allow the students to engage with social issues, develop an interest for design for social innovation, learn by collaborating with the others, and finally become autonomous in taking decisions and expanding their own knowledge. Comparing the 3 projects, the educational objectives remained mostly unvaried. But at the first experience the main priority was to teach the students about the Human Centred Design methodology, then we learnt that is important to make the final year students aware of different design methods and tools (beyond the HCD), and free to explore and choose according to their needs. So that to enhance confidence and autonomy as young designers. “Design education therefore, must stimulate the students into exploring alternative approaches to design, in real and engage way” (McMahon and Bhamra, 2010, p.3) Other aspects we evolved through action research regard:

§ The design brief which became more and more specific from the first to the third project; § The number of neighbourhoods and teams decreased to make it more practical and under control for the teacher; § The number of team members which increased to make the collaboration within the team more challenging, but at the same time allow the students to deal with more tasks and work on field; § To provide the students an International event/movement to be part of when designing their intervention. In particular, this change was very important for the students and local communities because they felt connected with the rest of the world; § Tutoring: classroom strategies to keep the teacher updated during the design process. On the first project the teacher gave the timetable in order to guide the students throughout the process. But as a result students learnt the process but were not sufficiently autonomous. Because the main educational interest was the autonomy, in the following projects the students were asked to use Trello online platform to share every step of the process with the teacher. As so she could check and share both the quality of the process, and how much each team member was engaging with activities and tasks.

Figure 2 shows the structure of the teaching/learning/design process timeline, the methods and tools provided. The reflection phases are part of the learning process too. In fact, informal interviews were made to students after a week from the conclusion of the project (CB, BL), and an online questionnaire more or less after six months (SB, CB, BL). he former to get ‘fresh’ opinions and feelings from the experience. The latter to understand the actual impact of the projects on design students: in fact most of them have already faced the work world challenges and can give more critical and mature opinions and suggestions.

THE FINAL QUESTIONNAIRE

The online final questionnaire was built according to four parts regarding: § (1st) what project the student attended and his personal motivation toward working in team and at collaborative projects; § (2nd) the project itself, that is the design process, its implementation, the personal impact on awareness of the competencies achieved. § (3rd) the collaboration between the team and the local community. § (4th) the personal experience within the project.

Generally speaking, all projects had a big positive impact on the students. 83% considered the design brief and the whole experience extremely positive. Of the whole process the aspect the students valued the most was working in team and in direct contact with the local communities. Comparing all the answers it results that the students participating the Campainha do Bairro and the Big Lunch projects gave a much more positive feedback compare to those who participated to the Social Design no Bairro. About the personal experience, the four main things the students learnt through the collaborative project experience were: to listen, to empathise, to communicate better, to take some risk. Then others followed: to engage more with local community, to build trust, to be more patient, to respect the others and their opinion, to work in team, to be more responsible, to become aware of social issues, to deal with local institutions, to be proactive.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 70 Social Sustainability Education. Experiences Beyond the Borders of Traditionalism

Figure 2 The teaching process. Methods and tools provided to the teams in the different projects are visual- ised through the three colours. In yellow the moments in which the students got evaluations by the teacher. As visible in Figure 5, Trello platform wasn’t used in the first project.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 71 Susana Gonzaga and Valentina Vezzani

From an educator's point of view, some students’ comments were relevant. “You don’t need to be always in control of your design”: students became aware of the importance of the teamwork, of listening to the others, trusting and also taking some risk. “It is important to talk to people and see what they do, how they live”: students became aware of the importance of meeting the real context and people; they realised they didn’t know almost anything of their problems and challenges. “I learnt how to create a relationship with ‘closed’ groups like those living in the social housing neighbourhoods”; they had to demystify their beliefs before designing with and for them. Compared to the answers given in the earlier interview, these were more synthetic but confident and clear. In total the 77% of the students declared that the whole experience changed their interest in social aspects. Then this kind of design experience make the students aware of the importance of societal aspects and human relationships within the design process. Regarding the design process the easiest part was ‘to generate ideas for the project’ (61%), ‘to explore and discover the neighbourhood’ (50%), ‘to keep the energy and motivation high all along the process’ (44.5%). On the other hand the hardest part was ‘to involve the local community to be active part’ (56%), ‘to empathise with and be accepted by the community’ (50%), ‘to get partners and sponsors’. About the provided methods and tools, the students considered the case studies collection and brainstorming as the most useful methods during the design process (78%), followed by the teachers guidelines (56%). The HCD Toolkit had less impact (only the 22% considered it useful). The students considered to have acquired or developed the following competences during the design process: empathy (78%); understanding others (61%); creativity skills (61%); ability to dialogue, reflect and accept differences (50%); increase responsibility, sense of sharing and participation (44,4%). The aspects they considered less relevant were: pragmatism and engaging skills (6%); critical thinking (11%); confidence (22%). At the question about whether they have ever applied something they learnt during the project, the 78% of the students said “yes”. This means that the project experience had success in teaching the students something that they could apply later on. From new technical skills to social capabilities. Regarding the collaboration part, the questions were build referring to the studied literature. We tried to understand which factors are as enablers or obstacles of collaboration. As a result as enablers were considered the need of: ‘sharing ideas’ (67%), ‘clear roles of the team members’, ‘good synergy’ and ‘playfulness’ (44%). Obstacles regarded moments of ‘lack of cooperation to execute any agreed activity’ (39%), ‘lack of dialogue and communication’ and ‘lack of synergy’ (33%). Interesting to say that playfulness and the heterogeneity of the teams are considered only enablers of collaboration. At the open-ended question “From a learning point of view, what benefit can a person gain from collaboration?” All students answered positively. Here the main feedback: § To learn from the others, their life experiences, and learn to see things from different perspectives; § More sensitivity and curiosity towards the others and their interests; § To become more responsible and committed toward the others; § To learn to share ideas, to communicate and take decisions; § New interpersonal ties (within the team and/or with the local community). The answers to this questions revealed also some tough or bad experiences the students had to face through the project. Although these, most of the feedback were positive. Answers to the questions “What of the collaboration with the local community did work well?” and “What didn’t work at all?” are reflected in the conclusions. The 94% of the students confirmed that the local communities and organisations learnt something new from the collaboration with them, designers (figure 3).

Figure 3. The local communities and organisations learning’s from collaborating with designers.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 72 Social Sustainability Education. Experiences Beyond the Borders of Traditionalism

CONCLUSIONS This three year project made us conclude after observation and action research methodology the following considerations.

§ Students who worked with a more specific design brief, found easier to approach the project than those who had to define their own project brief. Moreover it is important to provide the students and local communities an occasion to be part of international movements or events. § The success of the initiatives depended on the support offered to the students by the local social associations in order to the engage with the inhabitants. Moreover, the presence and direct involvement in the process of local actors,, allowed students to have mediators to gain trust with more reluctant people. § The importance of feedback from locals and their involvement. Students became aware of gaps and relevance aspects in their projects through people's feedback, enthusiasm and participation during preparation and implementation. § From a learning perspective the result was more than positive as we saw the importance of the interventions, and real answers to real problems. This is the first step to care about people’s well-being and happiness. § Making things together, such as painting a wall together or redesigning the furniture for the social area together, can impact positively on the quality of collaboration. By doing together students and community got closer, built friendships, empathised and built trust. Moreover, by making an idea becoming tangible thanks to the effort and contribution of many, allows to make the design intervention to be understood by everybody and possibly find new people engaging with the change in the neighbourhood. § The complexity of this kind of projects gives the students the opportunity to put into practice knowledge, methods and tools got earlier in their studies. This aspect is very important for final year students. Moreover 94% considered this project change their understanding of design practice. § Beyond what we predicted, most of the students weren’t that autonomous in using the provided bibliography and toolkits during the design process. They still preferred to follow their teacher’s orienta- tions rather than the theoretical support. On other hand, they were autonomous and confident in scheduling meetings and activities, in coordinating teamworks and tasks, in communicating and cooperating with people and organisations, producing design artifacts and communication supports in organizing and managing a public event. § By observing the class and teamwork, we cannot deny that there is often some competition between the teams. This can contribute positively or negatively on collaboration. On the first case was mandatory to all to participate in all events. On the second and third we decided that participation was free, and the results were not that good. As teachers we understood the friendship between colleagues is fundamental besides all the collaboration environment given. The quality of interpersonal relationships is fundamental for the success of a collaborative process, but unfortunately it is difficult to control from an educator perspective. § From a teaching approach point of view the three teaching models have been defined to give the students all methods and tools to be autonomous in developing their own projects. But it is in the Big Lunch model that the teacher is more like a coordinator and mediator. Interventions are more to suggest or inspire the students, on the contrary leaves all the decisions to the teams. This teaching strategy worked very well, although the students were less focused on learning the theoretical support given to them to support the design process. § On one hand educators have to observe the needs and gaps of their own students and try to support them in their growth as future responsible designers and citizens. On the other, they should identify within the local territory some opportunities for the students to engage with the communities, understand they can contribute to the future well-being thanks to their design interventions.

The contemporary socio-political and economic context we live in and the threats we see for the future of our societies, economies and well-being assign to Design education the duty to prepare the future generations as active actors of the ‘change’ toward a sustainable world.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 73 Susana Gonzaga and Valentina Vezzani

REFERENCES Head, G. (2003). Effective Collaboration: deep collaboration as an essential element of the learning process. Journal of Educational Enquiry, 4 (2), 47-62. Lofthouse, V. (2013). Social Issues: Making them relevant and appropriate to undergraduate student designers. Design and Technology Education: An International Journal, 18(2). Manzini, E. (2015). Design, when everybody designs. An introduction to design for social innovation, Cambridge: The MIT Press. McMahon, M., Bhamra, T. (2010). Design without borders. International collaborative design projects as mechanism to integrate social sustainability into student practice. In Proceedings of the Knowledge Collaboration & Learning for Sustainable Innovation ERSCP-EMSU Conference, Delft. McMahon, M., Bhamra, T. (2016). Mapping the journey: visualising collaborative experiences for sustainable design education. International Journal of Technology and Design Education. Springer. Tang, T., Vezzani, V. (2014). Investigating the Potential of Design Jams to Enhance Sustainable Design Education. In Proceedings of NordDesign 2014, Espoo. Woodcraft, S., Hackett, T. & Caistor-Arendar, L. (2013). Design for Social Sustainability. A framework for creating thriving new communities, The Young Foundation: London. Retrieved at: www.futurecommunities.net/files/images/Design_for_Social_Sustainability_0.pdf

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 74 Reverse Process in Stigma Products

Axel Lopez a, Juliana Bartachini b and Rui Mendoça c

a MDIP|FBAUP & FEUP, University of Porto, Porto, Portugal [email protected]

b MDIP|FBAUP & FEUP, University of Porto, Porto, Portugal [email protected]

Product Design Department c FBAUP University of Porto, Porto, Portugal [email protected]

ABSTRACT

This project concentrates in the reversal of the classic process of product design, generating stigma products, all of this in a production process that does not strive to find perfection. This practice aims to encourage the questioning of social logic and categorization of pre-established ideas in design and mental illness. All of this while seeking for a sustainable option to challenge the materials normally used in industry articles, therefor, triggering the urgency of redefining new concepts. This document covers the first stage of the findings related to an alternative representation of social stigmas associated to mental illness. This project was made with the help and collaboration of FBAUP (Faculdade de Belas Artes da Univerdade do Porto) and ANARP (Associação Nova Aurora na Reabilitação e Reintegração Psicossocial).

Keywords: reverse, stigma, product, experimentation, recycle.

INTRODUCTION

Our project aimed to search and experiment with different processes and materials hoping to obtain a product related to social stigmas. “Negative societal responses to people with mental illnesses may be the single greatest barrier to the development of mental health programs worldwide” (H, 2016). With that previous comment, we must consider this worldwide issue something to be address. This project has an experimental character, being linked directly to the stigma in society and design. The concept related to the labeling and normative expectations that society anticipates from a common standard and status to be followed. This applies to a person being outside the pre-established conventions and to the industry products that must follow such standards. In an inverse process to this logic, objects are created not to follow a perfect pattern or sequence, this with the objective of representing the actual stigmatization of society. Not only were we seeking to create a visual impact on a normal every day object, we also aimed to build a deeper bond with the future user. “Many people spend 75% of their day in or some type of human body support” (Postwell, 2012). This author also emphasizes that furniture are objects used for basic daily activities (eating, sleeping, reading, etc.), therefore, they can highly impact our way of living. If we want to create an object that impacts our stigmas as a community, what better way to do this than by influencing entities we encounter every day in almost any location. Stating this, we decide to focus our energy in creating 3 different “seating” stigma furniture. The goal is to experiment with diverse methods of production to achieve different “stigma” products. No process was premeditated or designed, they were simply made with the materials at our reach. Being said that, we decided to target our raw material around wasted or leftover matter, we only used materials originated from industrialized products. All the furniture was developed during our master’s course (Industrial and Prod- uct Design) and built in the university’s (Faculdade de Belas Artes, Universidade do Porto) workshops/laboratories.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 75 Axel Lopez, Juliana Bartachini and Rui Mendoça

PROCESS AND PRODUCTS

Our main inspiration for the methodology used during this project was a combination of projects from Phillipp Aduatz and Martino Gamper. We took Aduatz’s production method as a concept for our building process and Gamper’s chair project inspired us to create a different furniture from the common expectations, all of this without looking for perfection.

PROCESS

With the Reversed Process Furniture project (Figure 2.0), Aduatz is rethinking and reinventing its procedure of designing objects by moving the order of the construccion stages. The objective is the act of reversing the furniture’s layout process. Here, it begins the initial process with a factory-produced object, in a second moment, materials are added or subtracted from the original object. After the finishing touches are made, the idea of the object appears, exactly reversed from its design process.

Fig. 2.0 - Reversed Process Furniture by Aduatz

The “reverse process” is intended to contradict the classical process of product design, moving in the opposite direction to the form of industrial process, the molded design, and the categories of pre-established ideas of social logic labeling. Consequently, attention should be paid to the reversal of the classic stigma process, in a collective effort to raise awareness of this process of social exclusion of the mentally ill. “Ignorance about mental illness is a void too often filled by prejudicial stereotypes of mental health consumers, for example, dangerous, lazy, dirty, stupid, or boring.” (Lamb, 2009).

Fig. 2.1 – Schematic representation of reverse method vs stigma (drawings from Aduatz’s project website)

We chose as a methodology or creation process only the basis of the “reversed process”, our intent was to reverse either a completed, dismembered or parts of an industrialized product, the main purpose was to work in the opposite direction. Described above (Figure 2.1) we can examine that the main idea is to simply create a object from pieces or products that were originally mass made.

PRODUCT

In the 100 Chairs in 100 Days project (Figure 3.0), Gamper collected abandoned chairs from the streets and homes of friends and brought them together, one a day, in poetic and often humorous ways, creating an experience of transforming limitations into possibilities. " The motivation was the methodology: the process of

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 76 Experimentation Process of Stigma Products doing, of producing and absolutely not striving for the perfect." (Gamper, 2007). The approach is elastic, highlighting the importance of contextual origin and enabling the creative potential of random individual elements spontaneously assembled.

Fig. 3.0 - 100 Chairs in 100 Days by Martino Gamper (drawings from Aduatz’s project website)

This concept of not seeking perfection is exactly what we are aiming with this project, this, to promote the fact that something symmetrical, aesthetical and perfect doesn’t need to be the social standard for “good” or acceptable. In this context, we observe that the social stigma linked to mental illness is due to an insufficient knowledge about the genesis of the disease. “The routines of social intercourse in established settings allows us to deal with anticipated other without special attention or through.” (Goffman, 1963). In order to make people go out of their established social routine and notice this “stigma”, we must intentionally aim that the object produced causes people to become strange, consequently, becoming a vehicle of interest for an in- depth investigation about the subject.

Fig. 3.1 – Stigma in Society and Design (Portuguese)

We found it proper to seek a modern yet original product that complied with today’s necessities of sustainability and adaptability. Making the product derived of recycled or “waste” material would create a bigger impact on the users as well as in the environment itself. It is our responsibility as designers and human beings to create objects that promote this type of mentality. “It is better to take advantage of materials as they are, without adding to the carbon burden that has already been generated by their manufacture.” (Hollman, 2015). It is imperative to either create products that do not harm our world, or find further usage in materials that are discarded quickly and currently damaging our ecosystem.

SAND CASTLE CHAIR

This chair results in a production process that does not strive to find the perfect and conditions the questioning of a dominant ideology. No pre-idea or form was conceived during this process, our current feelings and thoughts at that moment played a main character in the final shape of this furniture. This process was highly

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 77 Axel Lopez, Juliana Bartachini and Rui Mendoça influenced by Aduat’z work. The idea of the object with its final shape appears at the end instead of the beginning, exactly the inverted form of the classic design process. It’s a unique object that reveals its geometry through the designer's manual ability, material behavior and the action of the gravitational forces, therefore, the form is a consequence of the functional needs of the materials. The process started with a no-idea, that is, with an object produced in the factory but found as trash in the street. In the second phase, the material was added and subtracted from the object, there was no limitation in the selection of materials or tools, usually taking what you found in the Design Workshop (FBAUP), at home, or in the shops near the University. Next, the geometry was revealed, an experimental process where the behavior of the material plus the gravitational force, resulted in the final shape. The final touches of the object were done with spray paint (stone style), evidencing the organic and rough form, that refer to the work of the artisans. After the process was over, it was noticeable that the idea revealed a chair that first appeared to be made of attached popcorn and after painting showed the similar appearance to a sand castle, thus naming it, Sand Castle Chair. MEASUREMENTS: 85x53x58cm | COST: € 48.50 | CREATION TIME: 15H MATERIALS: purchased chair, wood, newspaper, white glue, polyurethane foam, plastic, spray paint and wire. PROCESS: Two legs where cut off with help of a hacksaw, the main seat was removed and replaced by a metal mesh. Both legs were replaced by wooden pieces, one was glued with melted plastic with aid of a heat gun and the other was simply strapped to the frame with a plastic bag. The back support was cut in half and one part was turned 90 degrees to serve as a arm rest, a first layer of paper mache was later added to one leg and the back rest. Later on, we noticed that there was no need in adding paper mache to our process, the final part was the covering of polyurethane foam, the wire mesh served as a structural support for the seat. The whole chair was covered by this foam material, with help of a wood stick the desired shape was modeled, at the end we let time, chemical expansion and gravity determine the final form of this object.

Fig. 4.0 – Reverse process applied to chair

BIGGEST REGRETS BENCH

This object relates strongly to our actual social stigma affecting people that suffer from mental illnesses. This bench may not be appealing at first, but once you get to know the materials and process done to it you may observe it from a new and unique perspective. This product was not created in a typical or straightforward process, this was intended to trigger the urgency of experimenting the use of different construction methods. Contrary to the past experiment, we had a basic concept of what we wanted, we were creating a bench, however, the process itself guided the appearance of the final object. The temperature changes in the plastic connectors made this object change due to thermal shock and plastic contraction. This created an inaccurate aligned furniture, thus, this same action added artisan value to the product itself. This bench is a unique work of craftsmanship value and ecological awareness, all its elements of composition have been found or donated, safe to say, a second “life” was allocated to this “waste” materials. Its geometry appears through the manual skill of the designers, no final finishing processes where used, the product was revealed by gathering and joining the elements found. In this project, the inverse process is found with an elastic approach by joining random individual elements that are spontaneously assembled with molted recycled plastic. Unlike the “Sand Castle Chair” we did not

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 78 Experimentation Process of Stigma Products begin our process from a final product, instead, we started from the leftovers or pieces from several industrialized articles. We sought to represent an object that unifies and reverses several entities into one idea.

Due to the materials used and the imperfections achieved during the manufacturing process, no bench will ever be the same as the one created, we kept as distant as we could from shaping an industrialized furniture. MEASUREMENTS: 44x41x42cm | COST: € 0.00 | CREATION TIME: 21 MATERIALS: Polypropylene and various woods. PROCESS: The tools used were: heat gun, saw and standard clamps. The process began with the search for materials, these were found at the University and on the streets of the city of Porto. In the second phase, the materials were filtered, the use of plastic and wood were defined as raw materials. Next, diverse rectangular wood strips were cut to the same length, that were later arranged by their color gamma to determine their position. Diverse geometries and an existing furniture limb were used as legs for the main support. Plastic was cut with a hacksaw and melted with the heat gun, this material served as “glue” to assemble the whole object. Little by little parts where bonded with the melted polypropylene, the final shape was determined as a result of the gathered materials. This was a very slow process, there were no final finishing processes and the product proved to meet the elements found. In the end, a strange yet appealing bench appeared.

Fig. 5.0 Material selection and manufacturing process of “biggest regrets bench”

PIÑATA STOOLS

With the intent to continue our experiments with stigma objects, we began Piñata Stools. This stage of the project involved the creation of a mini-series composed of 4 stools. This test involved the same material used s as in the “regrets bench”, re-using elements was applied. These products used a more focused process, the technique was a little bit more controlled, however, the unexpected final shapes still remained. A plastic company donated us several kilograms of “waste” plastic pellets free of charge. The seat represented the main part of our assembly, at the same time, it acted as a method of union, making the project a proposal of simple manufacture. We found color inspiration in Mexican piñatas, believing we could transmit the joy of a Mexican traditional party to the future users of these stools. This specific influence did not deviate us from representing “stigma objects”, this was just an incentive to use distinct colors in our designs. The concern with the easy replication of these objects was of high interest, we saw that this process might have other useful purposes in the near future. This manufacturing method was even evaluated with the ANARP association as a possible workshop for the mentally ill. Promoting the continuity of this project, the users would be invited and guided during the execution of the workshop regarding the production of the objects being developed. Thus, the patient can and should intervene in the final result, exposing their creativity, while respecting the limits defined by the designers. Therefore, it is a project of social integration, contributing to the development of the patient, where we hope that he can find a personal incentive in the autonomy achieved in the process of creation. At the same time, they will transpose in the object their own stamp and personalization, it will be their own creation and representation of their stigmas. This specific methodology will be analyzed and evaluated in the future, more investigation needs to be addressed in this specific field. MEASUREMENTS: 46cm x ø 30cm and 45x28x20cm | COST: € 0.00 | CREATION TIME: 03: 30H (for each unit) MATERIALS: white HDPE, yellow HDPE, blue polypropylene, pink polypropylene and wood. PROCESS: The beginning of the process takes place by the cutting of plastics and the selection of colors to Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 79 Axel Lopez, Juliana Bartachini and Rui Mendoça be used. Next, a metal mold is required, which will result in the final shape of the seat of the stool. The mold is placed inside the oven, the temperature should be controlled around 200 ° C. To make a stable seat, it is necessary to make 4 layers of plastic in the stainless steel or aluminum mold, adding a layer every 35 minutes. When the final layer is melted, the mold is removed from the furnace and the wooden legs must be introduced quickly. When the cavity cools, the contraction of the plastic will grasp the wooden legs, in this same reaction it will naturally release from the metal shape. This cooling process takes about 1 hour. It is as easy as baking a cake.

Fig. 6.0 Mold preparation and leg insert

Fig. 7.0 Sand Castle Chair

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 80 Experimentation Process of Stigma Products

Fig. 7.11 Biggest Regrets Bench

Fig. 7.12 Piñata Stools

CONCLUSION

Creating these imperfect objects or Stigmas Objects, as we like to call them, we seek to stimulate a new way of thinking about design and society, even provoking a personal debate about values, functionality and appropriateness. In an experimental approach to the design inversion process and its consequences of an unexpected result, we sought to highlight the inversion of social logic and its constituted perspectives, where the consequence of the process was imperfection. Being able to give another “life” to materials or objects considered “trash” is rewarding in both a personal and sustainable level. The result of this project is the completion of a daring and seductive experience where we found that the reverse design process can lead to something new and unthinkable, to this, the classic design process can make us extremely predictable. Thanks to the creation of the “piñata stools” we saw the future potential of taking one of our processes in- to a functional workshop practice. This is only the first part of this huge investigation, the next step will be to start interacting with personal and patients from the ANARP association, this, either through workshop activities or interviews to obtain assessment on what can be considered a “stigma object”.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 81 Axel Lopez, Juliana Bartachini and Rui Mendoça

REFERENCES

Aduatz, P. (2014). Reversed Process Furniture Design Process. Retrieved from Philippaduatz: http://www.philippaduatz.com/portfolio-item/reversed-process-furniture-design-process/ Chomchavalit, J. (2016, May ). C.R.E.A.T.E. A MENTAL HEALTH STIGMA REDUCTION ART PROGRAM:. Thesis. Long Beach : Pro Quest . Gamper, M. (2007). 100 Chairs in 100 Days . Retrieved from martinogamper: http://martinogamper.com/100-chairs-in-100- days-2/ Goffman, E. (1963). STIGMA Notes on the Management of Spoiled Identity . Englewood Cliffs : Prentice Hall . Graeber, D. (2013). Projeto Democracia- Uma Ideia, Uma Crise, Um Movimiento. Editorial Presença. H, S. (2016). Reducing the Stigma of Mental Illness . Global Mental Health , 1-4. Hollman, W. (2015). Guerilla Furniture Design. North Adams : Storey . Karl T. Ulrich, S. D. (2003). Product Design and Development. McGrawHill. Lamb, J. (2009). Creating Change: Using the Arts to Help Stop the Stigma of Mental Illness and Foster Social Integration . Journal of Holistic Nursing- SAGE, 57-60. Mari, E. (2014). Autoprogettazione. Edizioni Corraini. Postwell, J. (2012). Furniture Design Second Edition. Minnesota: John Wiley & Sons.

*Schematic drawings obtained from: http://www.philippaduatz.com

**The rest of the images displayed in this document were photographed and edited by the author

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 82 Product Design in a Circular Economy: Competencies and Responsibility

Ana Carolina Motta a and Dirk Loyens b

a ESAD-IDEA Porto, Portugal [email protected]

b ESAD-IDEA Porto, Portugal [email protected]

ABSTRACT

Contemporary Product Design is associated with a timeless aesthetic combined with doing well to environment and society. It is about collaboration, resiliency, systems and professionals that go beyond the boundaries of interdisciplinarity to create business and business opportunities in innovative and efficient ways. This paper discusses one of them, describing the new role and responsibility of the designer creating strategies within the Circular Economy. Within this novel framework the designer starts collaborating with multiple stakeholders and innovation agents and conditions his inventiveness not only to the form and aesthetics of the product, but throughout the entire design and development process. This procedure of developing a product encompasses several methodological and technical areas that through the application of specific tools, processes and approaches support and guide all the steps that result in a circular design process. A case study applied in a Portuguese furniture company, emphasizing this new profession will be presented.

Keywords: Circular Design, Circular Economy, Product Design, Design Competence, Design Responsibility.

INTRODUCTION

This paper describes our ongoing research exploring the necessary changing role of Design within an economic framework around waste and resource management, which aims to offer a substitute for the linear take- make-use-dispose industrial model. This alternative framing introduces the notions of industrial metabolism and cycling in the production processes (Blomsma & Brennan, 2017), and thus influences the common practise of different actors involved in the product development process, including Design. The goal of this paper is to identify some important fundamental approaches for product design within this novel economic framework: Circular Economy. Circular Economy (CE) can be described as an umbrella concept with catalytic functions, loosely encompassing different complementary strategies and frameworks all directly or indirectly related to the process of producing consumer or investment goods (Blomsma & Brennan, 2017; Geissdoerfer et al., 2017). Divergent underlying structures provide alternative interpretations about its core principles however, no clear definition about its boundaries can be provided. The Ellen MacArthur Foundation (EMF), which created the concept, refers to the CE as "an industrial economy that is restorative by intention; aims to rely on renewable energy; minimises, tracks, and eliminates the use of toxic chemicals; and eradicates waste through careful design.(EMF, 2016, pp.22)”. Seeking and taking inspiration from living systems, circular design (CD) aims to reorganize the product life cycle. Instead of starting the cycle of nothingness, developing a product and ending this linear system with something that has lost all its value, the circular design seeks the closure of the cycle and the endless creation of value. CD takes a much broader approach to product design and development and has to

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 83

Ana Carolina Motta and Dirk Loyens

consider a wider network of stakeholders acknowledging everyone who extracts, builds, uses and disposes of material and energy. Feedback loops based on the life cycle of materials are paramount (EMF & IDEO, 2016). In such manner, CD has become a new method for the design process, but despite the simple name, the subject is not only economical and sustainable in a simplistic way, it goes well beyond the present model of production and consumption (EMF, 2016). By directing the CE to the specific area of product development, Design becomes a key player in the process. Therefore in 2016, IDEO teamed up with the Ellen MacArthur Foundation to launch a Circular Design Guide (EMF & IDEO, 2016), applying design thinking to solve design problems not only from a user's point of view, but from the entire system involved. From the political point of view the importance of CE becomes clear when governments all over the world adapt CE as a strategy for economic development instead of a simple environmental sustainability strategy (EMF, 2016; Institut Montaigne, 2016). Its relevance for future economic development can only be understood through the considerable public funding of research in CE on national and international level (IAPMEI, 2017; Government Netherlands, 2016; EU, 2015; EU, 2017). CE is also new area of research and has considerable further development ahead. It is therefore a hot topic on the research agenda of many Universities (Geissdoer- fer, et al., 2017) and all over the world transdisciplinary research in this field is presently developed. Design can be considered as central to the transition to a CE, but traditional design methods are not adaptable to respond to this new paradigm so state-of-the-art design methods need to be developed and tested (EMF, 2017).

DESIGN AND CIRCULAR ECONOMY

Much of the popular design literature in the last 50 years has made people believe that the main purpose of Design is merely aesthetic and complementary to product development. Few authors described in detail the relation between Design and the production of innovative ideas or the generation of economic profit. Howev- er, ever since the industrial revolution, design worked at the core of innovation in manufacturing, promoting the application of novel production methods and principles. In fact Design has always been fully integrated in the complete product development process and, as such, is a key player in the development of capitalism and the modern society (Forty, 1986; Fry, 2012). But traditionally, Design was never preoccupied with social or environmental issues and eventual experiments in socially responsible design were most often small scale and local efforts with governmental or institutionally financing. Within the field of product design and fueled by popular books such as Green Design (McKenzie, 1997) reuse, recycling and remanufacturing have been subject to innumerous academic projects ever since the early 1990’s, most of them however not viable as industrial products. Some useful tools were adapted from other fields (Zbiciñski, et al., 2006), checklists were compiled (Brezet & van Hemel, 1997) and practical guiding tips were applied and tested, unfortunately mostly by students and limited to academic projects. Serious and more fundamental research was done in other related fields such as Industrial Ecology, Waste Management or Sustainable Development, and a considerable body of knowledge on those specific topics has been created. In the field of Product Design, eco-design and eco- management strategies became part of the application of systems theory in product development, combining ecological and non-ecological issues in wider contexts. (Vezzoli, et al., 2014: Da Costa, et al., 2017). While almost everybody in higher design education is aware of the important role of Design in sustainable product development, mainstream industry however, only sporadically applies the available knowledge in their development process. Although, ever since the beginning of the 21st century, much attention has been given to the problem of social and environmental sustainability and the relation with business activities, sustainable products still only operate in fringe markets and struggle to replace traditionally produced products. The drive for consumption of this kind of products continues to rely on altruism (Fuad- Luke, 2002). Nevertheless, considerable design know-how has been developed in the field of eco-design. However, it has been argued that eco-design or sustainable design are fundamentally different from product design for the circular economy (Hollander et al., 2017). Thus, and although the field of eco-design is well developed and provides Design with a substantial set of guiding principles, strategies and methods, those are not readily applicable within a CE framework. Therefore distinctive guiding principles, methods and design strategies need to be researched and refined in order to expand the novel field of Circular Design and providing the right mindset for the circular designer (Andrews, 2015; EMF & IDEO, 2015).

The Responsible Designer The idea that design has social responsibilities is not new and can be traced back to John Ruskin and his cri-

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 84 Product Design in a Circular Economy: Competencies and Responsibility

tique to mass production, and William Morris’s focus on local handcraft production in the mid 19th century. However, design has always closely partnered with industrial production and did never negate its fundamental role in the advent of mass production and mass consumption as can be understood in the mission of the Deutscher Werkbund in the beginning of the 20th century, the concept of streamlining in the 1930’s or the conscious application of a “Design for Obsolescence” strategy in the automotive industry. But besides some sporadic references to social responsibilities of design in the late 60’s (Papanek, 1971) or in the writings of Nigel Whiteley (1991). It is only in the beginning of the 21st century and when sustainability becomes a political issue that design becomes fully aware of its importance as a social and cultural changemaker (Changing the Change Conference, 2008). This social responsible design is nowadays widely researched and practiced, and goes by many different kinds of flavour such as: Design Activism (Fuad-Luke, 2009), Human-Centered Design (IDEO, 2014), Critical Design (Dunne and Raby, 2013), Social Design (Manzini, 2015), Social Innovation Design, among others. Each one of those novel design fields encourages designers to engage directly and critically with complex social issues. Therefore, analyzing the mission and field of action of contemporary design, it makes sense that Design becomes evermore multidisciplinary and that many design projects metamorphose into a transdisciplinary endeavour. Products and services become product-service systems and the need for innovation pushes the new role of the designer as a thinker, researcher, strategist, collaborator, influencer, and connector of different areas that can affect current social and economic development and collaborate in the building of a sustainable future. Today, with this new role of the designer as innovative problem solver and applying a Design Thinking approach, explored and disseminated mainly by Tim Brown, CEO of IDEO's Innovative Design Company, which seeks to solve problems in a collective and collaborative way, the importance of strategic collaboration is even more clear. In the article “Design Thinking”, Brown (2013) talks about how IDEO employs different specialists to complete the design team and how this is a better approach to finding innovative solutions to real problems and, to the enlarge intricacy of systems, services, products, based on new emotions and experiences from the point of view of the final consumer. Products are objects that satisfy needs or wants and although the primarily reason for a product to exist is its ability to serve a function, many products at offer in our Western society respond more to the whimsical behaviour of the contemporary consumer than to a reflective purchase. Most of those products have extremely short lifespans, are underappreciated and are easily discarded. While everybody is quite conscious about the perils of our throwaway consumer culture, very few users consciously purchase more sustainable products and adopt sustainable behaviour (Monbiot, 2012; Nava, 2016). It is therefore absolutely necessary to develop more products that go beyond energy efficiency during production, the use of recyclable material or the consideration of the potential impact on the environment when they are disposed of. The way users employ products and how their behaviour lead to more sustainable performance becomes evermore important. How- ever, very few effort is put in the shaping or the guiding of the use phase of a product and the promotion of sustainable behaviour (Lockton et al., 2008). As a designer responsible for product development, targeting the product’s entire life cycle, including post-use, a relevant issue is knowing how those products would be produced and being aware that pro- grammed obsolescence and poor product performance creates innumerous problems in society and the environment. It's no longer just about creating a stylish and functional product, it’s about products that are designed specifically for human and ecological health. It's not about being less evil, but about being much better. Concepts such as reduce, avoid, minimize, limit or stop, so often used in relation to sustainable design are just too limited. Design with a mindset of saving the planet is no longer sufficient (Braungart & McDonough, 2008; Chapman, 2009).

RESEARCH METHODOLOGY

Most of the research work was done within the target company and through the mediation of a design consulting firm. A framework for mapping process was devised to analyze the companies management system and the product life cycle. Several visits were organized to the different departments of the company to collect essential information, which was later compiled and documented in a research report. Further information was gathered by conducting open interviews with the head of the departments of the company. Those interviews were partly structured and based on a checklist previously prepared with the objective of mapping the companies management process. Before organizing any interview, management and the persons in charge

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 85 Ana Carolina Motta and Dirk Loyens

of each of the departments were briefed about the concepts of Circular Economy and Circular Design and the objectives of this research study were explained. All the interviews were transcribed and a qualitative analysis was performed to extract as much information as possible. The results were analyzed based on the concepts of CE and used for system mapping and the elaboration of guidelines for circular changes.

THE CASE OF CIRCULAR DESIGN

In the following we focus on one case study, discussing the implementation of a circular design project in a Portuguese office furniture company that has been active in the market since 1947. The company is well known for its innovative approach to product development and has built its brand in the national and international market. We do so in order to analyze how the practical implementation of the concept of Circular Econ- omy and Circular Design is received in industry, what key competencies and skills a designer needs, and whether innovation and possible change outcomes can be achieved. The project was executed in collaboration with a Portuguese Design and Engineering consultancy specialized product development.

About the Project To understand the system, it was necessary to start developing the mapping of a generic life cycle of a circular product (Figure 1) inspired on the butterfly diagram (EMF, n.d.) and thereafter identify the position of the company within this concept. The initial step was the mapping of the company's current management and product life cycle from raw material to disposal. This was done to get a broad understanding of the overall functioning of the company in order to identify the impact areas within the mapped system and target the necessary points for changes on a short as well as on and a long term. The two red points of waste and landfill were added to the cycle, and although not a topic in the circular economy, they are an important part of the company's management.

(Figure 1)

Based on the collected information a detailed analyses was elaborated describing the different actions and performance indicators of the company for each one of the topics mapped. By doing this we were able to identify those actions, which do not correspond to a standard circular process. This compilation is the necessary first step to start a transition process for the implantation of a CE framework. Next and based on this report an illustrative map (Figure 2) was developed to analyze the company's management process related to raw material, logistics and spending of natural resources. Unfortunately the company did not pass on all the information with the necessary detail to develop a truly in-depth analyses, however with the information received it was still possible to proceed.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 86 Product Design in a Circular Economy: Competencies and Responsibility

(Figure 2)

After the conclusion of this second mapping and careful analysis of each one of the topics a second report was elaborated identifying and compiling, at each stage of the process, those practical action points necessary to close cycles and become circular. One of them is a proposal for a new business model that is based not on ownership, but on product access and performance. This kind of business model focuses on the maintenance, repair, reconditioning and remanufacturing of products, associated with efficient collection management that will allow for remodeling, remarketing and resale. Unfortunately, if any of these fail, it will not be possible to have a closed loop. Another requirement is the impact on the product itself, product design is more than just designing a nice and functional shape it is about the use of materials, ergonomics, costs, efficiency and about design to last (EMF, 2013). The maximization of the useful life of the product is critical, but it has also to be designed for easy assembling and disassembling in order to be reused, remanufactured or recycled, only this way it is possible to keep the cycle closed (Lobos, 2014). The combination of all those factors associated with a timeless aesthetic will guarantee the position and value of the product within the cycle. Designing in a CE is quite different and the new generation of designers have to worry about the whole process in a more comprehensive way with use-oriented products and services. This is a complete different and more responsible way of working, and quite different from the actual approach to design in the company as described by the marketing manager of the company: it was done that way because the designer wanted it that way, and we just worry about how to produce it.

FINDINGS

As often happens, companies already operating in the market are quite conservative in their approach to innovation. Management is usually overcautious and has difficulties in accepting the challenge to apply new business models so important for the transition to circular economy. This was also the case of the company in our case study. Before the project was finished this company stopped all collaboration. But anyhow, even though the results of this study were not directly applied in this particular company, all the different phases and rightful actions were taken, and all research, process and guidelines promoted the

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 87 Ana Carolina Motta and Dirk Loyens

creation of a content base for the application in future strategic and consulting projects. One must not forget that CE is indeed not about only one company, it is about the economy, about a bigger plan to connect different companies coming together within a meta-infrastructure. In this context the designer works behind the scenes, making connexions, sharing knowledgement, creating new strategies and redefining his role in our society. For this to happen the first point to be changed is the design and development of the product, since it will not be sold and forgotten by the company. But all design should be created from the principle that every product will come back and be integrated into the company's value cycle. It's important to remember, just as Marian Chertow (Professor at Yale University - Industrial Ecology) pointed out well in his interview: “...these are dynamic things (...) people think that things are static and they’re not static at all. So we have to keep going and find newer and better ways to address the problems that we’re all concerned about here...” (CE - DelftX, 2016). And EC is a strategy that from the same principle is applied in different ways according to each company. That is why the designer as a strategist is fundamental.

CONCLUSIONS AND FURTHER RESEARCH

The principle of the Circular Economy is not new, many experts discussed the cycles, product design and business models exhaustively (Kraaijenhagen, Oppe, & Bocken, 2016). The challenge is to find innovative strategies that can bring different business and consumer together within the wider framework of the Circular Economy. In this scenario enters the value that the designers represent within this novel economic paradigm and which goes beyond their traditional core capacities or their focus on one project in particular. It is impossible to create and move forward with a new economic model on an individual base. Therefore, the creation of a kind of platform for consulting should create collaborative movements among economic agents along the value chain, around identifying and acting on opportunities for improvement in the efficient use of resources, and workshops could be promoted to introduce EC concepts at an embryonic stage of innovation. Taking advantage of the designer's new profession, the creation of specific and customized models and methods for industry and industry clusters, through the creation of reports with all actions to promote sustainability should be done in a global perspective for companies as well as in a modular perspective of a product or line. In the future our goal is to create a platform that promotes convergence between Design, Engi- neering, Business Management, Environmental and Sociology in order to apply the concepts of value creation to a circular economy in the embryonic phase of the front end of innovation.

REFERENCES

Andrews, D. (2015). The Circular Economy, Design Thinking and Education for Sustainability, Local Economy, 39(3), 305- 315. Blomsma, F. & Brennan, G. (2017). The Emergence of Circular Economy. Journal of Industrial Ecology, 21 (3): 603-614. Braungart, M. & McDonough, W. (2013). Cradle to Cradle. São Paulo: G. Gilli. Brezet. H. & van Hemel, C. (1997). Ecodesign: A Promising Approach to Sustainable Production and Consumption. United Nations Publications. Brown, T. (2013). Design Thinking. Harvard Business Review, June Issue (pp. 3). Chapman, J. (2009). Design for (Emotional) Durability, Design Issues, 25(4), 29-35. DelftX (2016). Circular Economy. EMF (2013). Towards The Circular Economy Vol. 1: An Economic And Business Rationale For An Accelerated Transition. Retrieved, July 01, 2017, from: https://www.ellenmacarthur foundation.org/assets/downloads/publications/Ellen-MacArthur-Foundation-Towards-the-Circular-Economy- vol.1.pdf Dunne, A. & Raby, F. (2013). Speculative Everything: Design, Fiction, and Social Dreaming. Cambridge: MIT Press Ellen MacArthur Foundation (2013). Towards the Circular Economy. Retrieved July 21, 2017, from: EMF. (2016). Circular Economy in India: Rethinking Growth for Long Term Prosperity. Retrieved: July 31th, 2017, from: EMF. (n.d.). The Circular Economy System Diagram. Retrieved: July 31th, 2017, from:https://www.ellen macarthur- foundation.org /circular-economy/interactive-diagram EMF & IDEO. (2016). The Circular Design Guide. Retrieved, July 22, 2017, from:

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 88 Product Design in a Circular Economy: Competencies and Responsibility

EU (2015). An EU action plan for the Circular Economy. Retrieved: July 31, 2017, from: EU (2017). Monitoring Framework CE. Retrieved: July 31, 2017, from: Forty, A. (1986). Objects of Desire. London: Thames & Hudson. Fry, T. (2012). Becoming Human by Design. London: Berg. Fuad-Luke, A. (2009). Design Activism. London: Earthscan. Retrieved, July 22, 2017, from: Fuad-Luke, A. (2002). Eco-Design Handbook. London: Thames & Hudson. Geissdoerfer, M., Savaget, P., Bocken, N. & Hultink, E.J. (2017). The Circular Economy - A new Sustainability Paradigm?. Journal of Cleaner Production, 143: 757-768. doi.org/10.1016/j.jclepro.2016.12.048 Government Netherlands (2016). A Circular Economy in the Netherlands by 2050. Retrieved: July 31, 2017, from: Hollander, M., Bakker, C. & Hultink, EJ. (2017). Product Design in a Circular Economy. Journal of Industrial Ecology, 21 (3): 517-525. IAPMEI (2017). Governo Apoio Economia Circular. Retrieved: July28, 2017, from: IDEO (2015). Human Centred Design Kit. Retrieved, July 22, 2017, from: Institut Montaigne (2016) The circular economy: reconciling economic growth with the environment. Retrieved: July 31, 2017, from Kraaijenhagen, Oppe, & Bocken (2016). Circular Business - Collaborate and Circulate. Netherlands: Circular Collaboration. Lobos, A. (2014). Timelessness in Sustainable Product Design, Proceedings of The colors of Care: 9th International Conference on Design & Emotion, (pp.169-176). Eds. Juan Salamanca et al., Universidad de Los Andes, Bogotá. Lockton, D, Harrison, D. and Stanton, N. (2008). Making the user more efficient: Design for sustainable behavior, Sustainable Engineering, 1(1), 3-8. Manzini, E. (2015). Design, When Everybody Designs. Cambridge: MIT Press. McKenzie, D. (1997). Green Design. London: Laurence King. Monbiot, G. (2012). The Gift of Death, George Monbiot website, December 10. Retrieved July 21, 2017, from: Nava, N. (2016). ‘Tis the Season for Cheap Plastic Toys?, Story of Stuff website. Retrieved July 21, 2017, from: < http://storyofstuff.org/blog/worst-toy-year/> Papanek, V. (1985). Design for the Real World – Human Ecology and Social Change (revised 2nd edition). London: Thames and Hudson. Story Of Stuff (n.a.). Faith-based Program for Christian Teens. Retrieved, July 21, 2017, from: Vezzoli, C., Kohtala, C. & Srinivasan, A. (2014). Product-Service System Design for Sustainability. Sheffield: Greenfield Pub. Whiteley, N. (1993). Design for society. London: Reaktion Zbiciñski, I., Stavenuiter, J., Kozlowska, B. & Koevering, H. (2006). Product Design and LCA. Uppsala: Baltic University Press.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 89 Artefacto #0000: study of traditional ceramic jug “Infusa”, for innovation by design, in Northern Portugal

Isabel Oliveira a, Bernardo Providência b, Carla Martins c, Isabel Fernandes d, Miguel Duarte b and Paula Trigueiros b

a Lab2PT Guimarães, Portugal

b Lab2PT/EAUM Guimarães, Portugal

c Lab2PT/ICS-UM Guimarães, Portugal

d Museu de Alberto Sampaio/Lab2PT Guimarães, Portugal

ABSTRACT

Artefacto #0000 is a Project dedicated to the study of handmade ceramic products from three locations in the northern region of Portugal. The project aims to understand the importance of a traditional ceramic artefact - “Infusa” (Jug) – in Portuguese life, studying its historical, ethnographic and morphological aspects. In addition to a didactical component of this project – to be materialized in an exhibition - this paper intends to foster innovation through product design. Four recent Portuguese projects with similar objectives were selected and analyzed. These are presented and illustrated with examples extruded from the study and interpretation of artefacts, materials or processes traditionally used by artisans from each location, but done by contemporary designers. The discussion observed three topics among the outcomes of those projects: a) Redesign of products aiming new markets; b) New processes and uses of traditional materials; c) Engagement of local craft activities. It is intended to share and discuss the preliminary results and, eventually, find partners for future developments of Artefacto #0000 project.

Keywords: Product Design, Portuguese, Tradition, Crafts, Ceramic, Infusa

INTRODUCTION

Artefacts are the materialization of people’s experiences in the territory in response to their own needs, with material and immaterial local resources. Also characterize identities of places and are the result of interactions between society and territory. From the end of the nineteenth century onwards relevant changes in lifestyle changed our material world. Today some traditional artefacts that have served populations over centuries are seen with nostalgia as holders of identity and memories, revealing uses, habits and tastes of previous times. Some may see on them the simplicity and beauty of the ancient, rural Portugal where manual labor prevailed. These artefacts are now objects of desire, reflecting the growing fascination for different traditions and cultures. Thus the handcraft that once satisfied basic needs of the population now satisfies another basic need: the need of enchantment (Albino, 2016). Some contemporary projects reflect the relevance of using local resources, material or immaterial, re-contextualizing and updating them, according to contemporary tendencies and current needs and requirements. These projects are aware of higher demand of consumers, looking for products with historical references, which value traditional knowledge and techniques, and the importance of identity as a distinct element of the territories that must be safeguarded, valued and promoted.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 90 Artefacto #0000: study of traditional ceramic jug “Infusa”, for innovation by design, in Northern Portugal

This paper refers to a research work that started last February and that is still in progress, centered around ceramic handicrafts produced in three locations in the north of Portugal, focusing on the study of its relation with the customs and habits of the last century, on which we still have vestiges and some living witnesses. This project involves a team of designers, a historian and an archaeologist. Among various types of ceramic artefacts this work is focused on the study of "Infusas", an utilitarian jug to serve liquids - water, wine and also milk - produced in the referred regions. With this work we intend to deepen the knowledge about techniques and processes, traditions and customs, material culture related to this typology of products in the territories under research. We aim to rescue this cultural heritage, stimulating the interest and knowledge of these traditional practises. The first outcome of this work will be a didactical public exhibition. Next, studying similar projects, we expect to highlight some common outcomes that may promote innovation through the interaction between design and local resources and traditions. This paper intends to discuss this first findings and eventually, find partners for future developments of Artefacto #0000 project.

FOUR EXAMPLES OF PORTUGUESE INITIATIVES

Several initiatives were promoted that seek to enhance the craftsmanship and its artisans, creating methodologies that vary from project to project, from territory to territory with the objectives to be achieved (Figure 1). Projects such as “Designing tradition”, “Tasa Project”, “Editoria: design, crafts and industry” and “À Capucha!” are among recent examples of initiatives promoted in Portugal.

Figure 1. Cases studies’ locations

Designing Tradition (Direct translation of “Desenhar a Tradição”), 2005 (S. Pedro do Corval) This project started in 2005, in S. Pedro do Corval (south interior of Portugal). This is a poor region that, in 2001, had 1578 inhabitants and 29 small and medium potteries at risk of bankrupting. This project appeared as response to a request for support made by a group of 10 local potteries, searching for solutions, trying to reverse a deep crisis (Arroz, 2006). It was promoted by CENCAL1, and began with an analysis of problems presented by potters, who focused mainly on difficulties in marketing and the lack of technological and artistic training. The intervention focused on three areas: marketing, design and technology, with the collaboration of a team of consultants. The program started with the study of the products, manufacturing processes, analysis of market segments and characteristics of new products, defining different typologies for integration into a whole. They also planned to develop sales networks, and a communication and promotion plan. One example of this project is the terrine “Coelhos Alentejanos” (Figure 2), designed by Pedrita studio. This type of terrine was once used to cook a local recipe of rabbit. The white slip, traditionally used in decora-

1 Professional Training Center for the Ceramic Industry, Caldas da Rainha, Portugal

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 91 Isabel Oliveira, Bernardo Providência, Carla Martins, Isabel Fernandes, Miguel Duarte and Paula Trigueiros tive elements, served as a background for drawings of visual elements that refer to hunting activities of the region. Thus, on one hand, this terrine represents a reinterpretation of an ancient technology used in pottery and, on the other hand, it encourages continuity of an activity that characterizes that region and revives an old tradition of cooking “rabbit” in terrines.

Figure 2. Terrine “Coelhos Alentejanos”

TASA Project – Ancestral Techniques, Current Solutions, 2010 (Algarve) TASA Project was created in 2010 under the guidance of two designers, Álbio Nascimento and Kathi Stertzig, and involved artisans, researchers, local and public entities, including students from the University of Algarve. It intends to adapt some ancestral techniques and materials to present requirements, by designing new products with added commercial value, to convert handcraft into a favorable prospect in the future. This way, TASA sets out to restore a “status” that craft objects had in the past as functional objects, identifying, updating their cultural context, according to contemporary needs (Nascimento and Stertzig, 2012a). TASA promotes the dialogue and knowledge sharing and learning, by creating a broad network, articulating techniques, knowledge and materials, linking artisans of different practices, allowing them to discover new possibilities and businesses. TASA created a synergistic network among artisans, institutions and the commercial sector, designing utilitarian products with local values and identities tailored for current needs of the market (Nascimento and Stertzig, 2012b). TASA is being promoted by Proactive Tour, a company of responsible tourism, since 2013. That company has been developing courses, workshops, creative residences and lectures in order to preserve and transmit knowledge. “Tarrina” (Figure 3) is an example that emerged from the collaboration between designers and craftsmen of different practises. Cork, clay and leather are used in the reinterpretation of a typical artefact from Alentejo – “tarro” - originally made of cork and wood and used by pastors to carry their meals. The authors, Joana Cabri- ta Martins and Salomé Afonso, transpose this traditional artefact, used when working on the fields, to the din- ing table. This piece consists in a “jar” in cork and a clay “pot”, serving, simultaneously, to serve and conserve temperatures and also as a warm base. The interior decoration is based on the Alentejo blankets and the Medi- terranean landscapes.

Figure 3. Tarrina

Editoria, 2013 (Guimarães) The project “Editoria: Design, Crafts & Industry” was created by Cláudia Albino within the scope of her PhD. It focused on the promotion of crafts that are still present in the region of Guimarães - embroidery, horn trans-

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 92 Artefacto #0000: study of traditional ceramic jug “Infusa”, for innovation by design, in Northern Portugal formation, tanneries, pottery, tinwork and wrought iron - which had, in the past, huge importance in the development of the territory (Albino, 2016). The project started with an ethnographic study, realizing how artefacts conditioned the construction of territories, searching for the values that characterize them. Workshops were held between artisans and designers, on an interactive process focused on the experience of making, stimulating the sharing of knowledge for both. “A Skull, a Pyramid and a few Hearts” (Figure 4) is the result of the collaborative process between Aitor Saraiba and the artisan Jorge Teixeira. Horn transformation was an activity of great interest in the territory. The manufacture of horn combs decline once plastic combs arrived. Aitor Saraiva took this utensil and combined it with his imagery, resulting on a product that maintains some of its functional character but reflects the fanciful work of its author.

Figure 4. A Skull, a Pyramid and a few Hearts

À Capucha!, 2012 (Arões, Vale de Cambra) “À Capucha!” (Figure 5) is a project created by Maria Ruivo, Cecília Lages and Raquel Pais with the collaboration of Helena Cardoso, who redesigned a traditional Portuguese coat, made with 100% pure wool and called “Capucha”. This artefact was used for centuries to protect farmers and shepherds from the natural elements in the mountainous and rural areas of Portugal. Made by hand the coat tells memories and traditions of rural life. The original product has been redesigned and adapted to a new market but keeping its identity. Commercial promotion is made through careful communication, valuing craft product, transposing it into contemporary life.

Figure 5. À Capucha coats

Table 1 summarizes the contributions observed in each of these four projects, organized into three topics: 1: Redesign of products directed to current markets, from the study, application of materials, traditional techniques or skills of local artisans, reinterpreted by designers; 2: Creative combination of traditional and new materials and/or processes; 3: Engagement and strengthening of craft activities - aiming to foster local development and the creation of opportunities for artisans as well as the transmission of knowledge to new generations of breeders.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 93 Isabel Oliveira, Bernardo Providência, Carla Martins, Isabel Fernandes, Miguel Duarte and Paula Trigueiros

We also sought to understand and record the origin of these initiatives and the leadership of the projects, seeking to associate it with some steps or actions developed in its scope: § Public - autarchy or institution of administrative, teaching or other nature; § Private – designers, individually or by groups of professionals, social organizations or others with commercial interest. This work resulted in this summary table:

PROJECT INITIATIVE RESULTS COMPONENTS OF THE PROJECT

Designing Tradition Public Products Study of traditional materials and techniques (S. Pedro do Corval) Processes Qualifications of artisans Social Engagement Crafts dynamization Collaboration between artisans and designers

TASA Public and Products Study of different crafts practises (Algarve) Private Processes Collaboration between artisans and designers Social Engagement Commercial strategies Promotion of crafts activities (courses, creative residencies)

Editoria Public Products Study of traditional materials and techniques of different (Guimarães) Processes practises Social Engagement Workshops with artisans and designers

À Capucha! Private Products Study of traditional culture and materials (Vale de Cambra) Commercial strategies

Table 1. Summary of the four projects

ARTEFACTO #0000

The project Artefacto #0000 covers three distinct ceramic regions and productions (Figure 6): Viana do Castelo and its faience factory (whose production is now closed); Barcelos and its glazed pottery, considered the Portu- guese largest popular ceramic industry (Peixoto, 1990) and Bisalhães (Vila Real) with its black pottery, recently declared “Intangible Cultural Heritage” by Unesco. The project focuses on a typology of objects, called “Infusa”, a utilitarian jug of service of liquids - water, wine and also milk. It is among the oldest ceramic objects, accompanying the daily life of the Portuguese throughout the centuries (Basto, 1954). The research consisted of: a) studying reference works on the theme, standing out the works of Rocha Peixoto (1990), Emanuel Ribeiro (1924, 1927) and Isabel Fernandes (2003, 2012); b) collecting data and assets of jugs in museums of the three different regions, c) collecting historical and ethnographic information in a common data base, d) analysing and comparing processes and production techniques, decorative and differentiated shapes from those three locations, e) understanding the relations between people and those artefacts and its transformation through times and f) compiling the results in an exhibition aiming to share the craft’s vital importance in territories’ identities. The three studied territories, Viana do Castelo, Barcelos and Bisalhães are located in the North of Portugal and although distances between them are short, we may find great diversity from region to region, “the Portu- guese territory has no natural unit, no wonder it also doesn’t have cultural unity” (Mattoso, 2010, p. 41).

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 94 Artefacto #0000: study of traditional ceramic jug “Infusa”, for innovation by design, in Northern Portugal

Figure 6. Artefacto #0000 ceramic regions and productions

Pottery has always been part of the life of local populations, which developed their own processes and techniques, (Figure 7) according to the resources they had available, responding to the needs of their daily lives (Ribeiro, 1927). These differences resulted in very distinctive characteristics (Figure 8), as the black tone of Bisalhães pottery, achieved through its firing in a reducing atmosphere (Fernandes, 2012) and its polished or- namentation with river pebbles; The living colour of Barcelos pottery, achieved by firing in an oxidizing atmosphere, enhanced by the glaze where pieces are bathed, and its decoration made with chicken feathers, with naive and primitive gestures, full of spontaneity and soul (Lage, 1940).

‘Biscuit’ fire Glaze Viana do Castelo Kick weel Tin glaze Overglaze colors Oxidizing atmosphere Barcelos Kick weel White glaze Oxidizing atmosphere Bisalhães Low weel Pebble to polish Reducing atmosphere

STEPS OF PRODUCTION 1 2 3 4

Firing Modeling Decoration Clays preparation

Figure 7. Steps of production – differences between regions

Serving essentially the rural world pottery created artefacts that responded to the needs of populations: storage, conservation and food preparation, at a time where life was very different from what we know today (Fernandes, 2003). The faience appears in a more urban context, first in the life of the most affluent, passing later to other social classes (Fernandes, 2012). Its coat with opaque white glaze, suited with perfect drawings where the colours and joy of Minho predominate, characterizes Viana’s faience production (Figures 8 and 9).

“Infusa” These types of jugs were produced in the three places under study and are generally characterized by their globular or pyriform body that strangles in the passage to the neck and by having a handle and a spout (Fer- nandes, 2012).

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 95 Isabel Oliveira, Bernardo Providência, Carla Martins, Isabel Fernandes, Miguel Duarte and Paula Trigueiros

Figure 2. “Infusas”: examples of decoration from Viana do Castelo, Barcelos e Bisalhães respectively

Their shapes, ornamentations and finishes vary according to the place of their production (Figures 7 and 8): they present a globular body with a low truncated neck in Barcelos, or higher in Bisalhães, and a trefoil spout with a marked strangulation; while in Viana do Castelo the body is also globular but the neck is cylindrical and its spout, made separately, does not suffer the strangulation of the others. Its ornaments reflect the legacies left by its ancestors, popular and traditional, as representations of the surrounding nature. The jugs volume range from 30 cl to 660 cl, from individual service to the service of several people. These types of jugs were used in very different contexts: in fairs and festivals, in train stations, where women, known as “aguadei- ras”, were transporting and selling water to costumers (Ribeiro, 1924). These vessels were also used in the fields work to carry wine or water; there is even a type of these vessels called “lavrador” (meaning farmer) showing this custom. We could also find them in kitchens and in taverns, used to serve the wine taken from the barrels.

Figure 3. Examples of shapes and decorations from Viana do Castelo, Barcelos and Bisalhães respectively

As many other types of pottery these trefoil jugs started to fall into disuse, as the needs for which they were created were disappearing. But the production continues, with other purposes, as it happens with several typologies. We still can find them in fairs and in craft shops, but its functional character gave place to another, often, only decorative. Nostalgia of the past, the affinity with the places and the memories are now, mostly, the reasons of its consumption.

DISCUSSION

The four projects presented reflect an effort to value cultural heritage, incorporating values and meanings that help to recognize different specificities of the territories. Design is seen as a cultural mediator capable of enabling new experiences and relationships between artefacts and users. This dialogue between the territories and our everyday needs can be a way to strengthen traditions, promoting new social dynamics, transmitting and making visible different traditions and cultures to new generations (Krucken, 2013). We selected and analysed one product of each project. All of them incorporate crafts, local traditions and memories, material culture that must be promoted and safeguarded. The collaboration between artisans and designers is a way to share and reinforce knowledge, creating products to be experienced by people (Celashi, 2013). In these examples we identify different processes that combine the matter with the personal interpretation of authors: thought the rescue of immaterial culture, formal and/or technical innovation, capable to transpose the cultural heritage for nowadays.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 96 Artefacto #0000: study of traditional ceramic jug “Infusa”, for innovation by design, in Northern Portugal

In our research project we see the ceramic production as a defining element of the territories under study. In the three different regions covered by Artefacto #0000 artisans developed their own techniques and processes, according to resources they had and their everyday needs. The “infusa” is an artefact that addressed the need to serve, store and carry water, wine and/or milk, accompanying Portuguese people for centuries. Can these defining elements be seen as an object to be redesigned? Can design rescue these artefacts transposing them to our days? The case studies answer to similar questions, recreating typologies, able to dialogue with and about the territory, making visible values and traditions, sharing knowledge that can be experienced by final users. Crossing the study with the learning from the projects presented we foresee some ways of evolving our project aiming to share its heritage with other: either by redesigning the ceramic artefacts, rethinking their shapes, suggesting new details, colours, adapted to new markets; or exploring combinations of traditional with new materials or techniques of production; establishing new relationships between designers and artisans looking for other forms of social engagement. The presentation of this article in this conference intends to enhance this discussion, adding value with contributions that can boost the future results of the project.

REFERENCES

Albino, C. (2016). Design e Artesanato na Construção dos Territórios. Burilada, Artefactos para a sobrevivência (p. 23 a 41). Matosinhos: Esad Escola Superior de Artes e Design, Câmara Municipal de Matosinhos. Arroz, M. H. (2006). Desenhar a tradição: experiências de inovação em S. Pedro do Corval (p. 149 a 157). Presented at the A produção de cerâmica em Portugal: histórias com futuro, Museu da Olaria, Município de Barcelos. Basto, M. I. de Azerêdo F. (1954). Estudo sobre as olarias de Barcelos. Universidade de Lisboa, Faculdade de letras, Lisboa. Celashi, F. (2013). Relações identitárias e processos sustentáveis entre artesãos e designers na produção contemporânea. In Editoria, Design, Artesanato & Indústria (pp. 6 – 13). Guimarães: 2012, Fundação Cidade de Guimarães. Fernandes, I. M. (2003). Do barro se faz memória. In Olaria portuguesa: do fazer ao usar (pp. 17–33). Assírio & Alvim. Fernandes, I. M. (2012). A loiça preta em Portugal: estudo histórico, modos de fazer e usar. Universidade do Minho. Retrie- ved from http://hdl.handle.net/1822/12249. Krucken, L. (2013). A re-descoberta do lugar e do artesanato. In Editoria, Design, Artesanato & Indústria (pp. 22 – 29). Gui- marães: 2012, Fundação Cidade de Guimarães. Lage, F. (1940). Vida e arte do povo português. Lisboa: Secção de Propaganda e Recepção da Comissão Nacional dos Cente- nários. Mattoso, J. & Daveau, S. & Belo, D. (2010). Portugal – O Sabor da Terra, um retrato histórico e geográfico por regiões. Rio Tinto: Círculo de Leitores. Nascimento, Á., & Stertzig, K. (2012a). Desenvolvimento integrado da cultura artesanal no Algarve. In TASA, Técnicas Ances- trais, Soluções Actuais (pp. 11–12). CCDR Algarve Nascimento, Á., & Stertzig, K. (2012b). O projecto. In TASA, Técnicas Ancestrais, Soluções Actuais (pp. 50–52). CCDR Algarve. Peixoto, R. (1990). Etnografia portuguesa (obra etnográfica completa)(Portugal de Perto, Vol. 20). Lisboa: Dom Quixote. Ribeiro, E. (1924). Água Fresca (apontamentos sobre olaria nacional). Porto: Tipografia Sequeira. Ribeiro, E. (1927). Anatomia da Cerâmica Portuguesa. Coimbra, Imprensa da Universidade.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 97

Impact practices: Communication & Design Case studies

Cristina Pinheiro a,b Isabel Farinha a,b and Ana Margarida Ferreira a,b

a IADE, Universidade Europeia, Laureate Universities, Lisbon, Portugal b UNIDCOM/ ID:Co.Lab

{cristina.pinheiro; isabel.farinha; ana.margarida.ferreira}@universidadeeuropeia.pt

ABSTRACT

This paper presents two research projects developed in the context of IADE Research Group ID:Co.Lab/ UNIDCOM which have already been implemented: L3 Project and Atelier Ideal Project/Association Renovate Mouraria. These impact practices combining public interest, design and social entrepreneurship were elaborated as collaborative projects between students and vulnerable local communities. Through these case studies, we aimed at answering the following question: how can designers and advertisers accelerate vulnerable communities’ growth by shaping financial sustainability and social impact products. L3–Lisbon community-based Learning Laboratory (Lisboa Laboratório Comum de Aprendizagem) is a collaborative and transdisciplinary project whose objective was to develop the training of university students in the areas of engineering, design, social sciences and humanities. We present here two brand design projects. The main goal of Ideal Atelier Pro- ject/Association Renovate Mouraria was the construction of a research and development project created in a co-creation process according to a communication & design approach promoting and guaranteeing sustainability, in order to (1) enable local merchants, through an individualized monitoring program in the areas of communication, image, business management, the creation of moments of sharing good practices and networking; and (2) promote the local commerce of Mouraria by creating a tourist route and a pop up event. For students, the intense emotional interactions and awareness of the real contribution, skills and positive impact of their work, by the implementation of these projects in the relevant communities, were the most relevant outputs of this experience.

Keywords: Collaborative Learning, Co-Design, Sustainability, Social entrepreneurship, Brand design.

INTRODUCTION

“Why must we take responsibility? Because we can”. David Berman

This paper presents two sustainable case studies of applied research-L3 Project and Atelier Ideal Project/ Asso- ciation Renovate Mouraria. With them we have tried to accomplish some specific aspects, such as: understanding what the communities are looking for; target audiences; partners, type of products and services they need; promote design practices focused on causes of social impact and helping the disadvantaged communities through the design practice with pro bono work. By creating guidance in the context of social innovation we are, for one hand, able to provide a communication & design solution-oriented project trough participation and experience to underserved communities. And, for another hand, we are strongly motivated to develop distinctive communication & design practices as teaching tools for our bachelor, master and PhD courses at IADE-Universidade Europeia. The research applies an interactive and collaborative methodology.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 98 Impact practices: Communication & Design Case studies

L3 – LISBON COMMUNITY-BASED LEARNING LABORATORY

General context

The L3 - Lisbon Common Laboratory Learning is a collaborative and transdisciplinary project whose objective was to develop the training of university students, mainly in the areas of engineering, design, social sciences and humanities, through the application of innovative active learning methodologies based on solving problems of vulnerable urban communities. It's a multidisciplinary consortium of 3 Universities - IADE- Universidade Europeia, FCSH (Faculty of Social and Human Sciences, Universidade Nova de Lisboa through IHC (Institute of Contemporary History and Instituto Superior Técnico, IST, through Center for Studies in Innovation, Technology and Development Policies IN+. This multidisciplinary team ensure comprehensive and diverse range of action at the level of initial higher education and post - graduate. This project had its focus on vulnerable urban communities and on new learning processes linking different stakeholders or academic partners to design diverse solutions contributing to citizens’ wellbeing. For that, each university assigned different courses covering a broad and diverse spectrum of skills and scientific knowledge. The L3 Project aimed scientific and civic education of students, through the application of innovative methods of active and collaborative learning in community settings. By encouraging students to learn in extra- academic environments they will acquire awareness of the society in which they operate, acting with responsibly in a context of uncertainty, giving answers to real problems that are affecting the communities, enhancing and developing student’s intrinsic cognitive processes and abilities (Cross, 2006). The "city", became an educational partner in this collaborative project. Through this project, the learning spaces merge with the city itself, which takes the informal agent function of education, source of training and so- cialization process (Bernarda, Ferreira, Silva & Queiroz, 2017). The involved students where called upon to carry out collaborative projects with each other and together with the communities to understand and answer closely to immediate practical issues (Stoecker, 2005) and real problems.

Figure 1 - Visual Identity of L3 Project created by Levy Olivares from Design and Visual Culture Master Course.

L3 DESIGN PROJECTS

IADE has been a laboratory of creativity, talent and leadership, recognized generally throughout society. It has been able to lead all students to experimentation and success and encourages people to test their own talent, to accept taking risks, simply to believe in themselves, making them the best of the best, in life or in future professional integration. In this context, among other projects developed by IADE students from local vulnerable communities, we present here two small projects that include the creation and implementation of two brand Identities and two Brand Books and their graphic applications: a) Restaurante Tradição da Colher, Bairro do Rego, Entrecampos, Lisbon, Portugal; and b) Papelaria Tabacaria Bumbinha Unipessoal, Lda., Bairro do Rego, Lisbon, Portugal These brand design projects were developed in the Curricular Unity "Laboratório de Design 2D", of the first year Design Course, involving two teachers and three classes. It was developed in several phases: 1- Identifica- tion of local, understanding of context, and meeting with partners/owners to perceive required needs; 2- De- sign process and project with brand book and Identity; 3- Selection of best and final projects; 4- Implementa- tion with application of all requested materials.

After visiting the places and the communities, it was possible to identify the problems and needs of both cases. During the visit and talking with the respective owners, students could observed the main needs and required elements for the projects; The direct contact between students and "clients", was very important to perceive in loco the area of intervention, the interior spaces, and the brands that they were going to work. This project developed with real situations was the best way to learn in a real context, and was very enriching in terms of social experience for the students. Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 99 Cristina Pinheiro, Isabel Farinha and Ana Margarida Ferreira

Restaurante Tradição da Colher

This restaurant of Portuguese traditional food is located in a shopping mall, in a hidden place with poor visibility. Besides this, the lack of signage and graphic material for the Restaurant was a problem to solve. The restaurant had no identity, image or signage (Figure 2). During the visit, the students were able to see the area, the interior environment, and it was possible to observe the main needs in order to solve the problems. So the main objective was the creation of brand identity, graphic material and signage with proposals for its internal and external environment. After launching this challenge in the class, a short list was presented to the owner of the restaurant and this is the final solution to be implemented (Figure 3). The Brand Concept: The visual identity has two main elements in its design which refer directly to the name, (spoon tradition) exploring the idea of traditionalism and manual preparation at the same time. The typographic composition handwritten and a wooden spoon are the main elements of the brand. The light yellow is one colour already used in the table towels and wood spoon and brown is associated with wood furniture already existing in the restaurant.

Figure 2 - Images of the interior space, before intervention.

Figure 3 - Brand identity and cards developed by student João Victor Ribeiro

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 100 Impact practices: Communication & Design Case studies

Figure 4 - Some examples of brand application: Apron, menu and postcard.

Figure 5 - Identification in the glass facades of the restaurant.

Papelaria Tabacaria Bumbinha

This small stationery and tobacco shop is located in Bairro do Rego, Lisbon. The brand Bumbinha was designed for the shop that also sells African products and materials of esoteric origin, representing the Hindu, Buddhist and Christian religions. The owner has an emotional connection to Africa more precisely to Mozambique. This project was a good challenge for the students, since the briefing had some specific aspects to be applied. It should include a wide range of associated means. That is the reason of some symbols to represent the esoteric ideas and preferences of the owner like colour as well as the requirement to have a giraffe. The Brand Concept - The logotype (sign whose function is to communicate through typographic characters with expressive and connotative values) was developed through an existing typography (Lontara), alternating its visual and symbolic weight with graphic elements of esoteric symbolism (Hindu, Buddhist, Christian and African), mixed with colour; Orange and brown are characteristic colours of some african environments, being orange also common to the religions previously mentioned.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 101 Cristina Pinheiro, Isabel Farinha and Ana Margarida Ferreira

Figure 6 - Brand logotype for the shop, designed by Ester Gonçalves.

Figure 7 - Brand with logotype applied in shop bags and personal card.

Figure 8 - Brand logotype applied in shop facade.

These projects have promoted the inclusion of higher education students in vulnerable communities, as well as encouraging their interaction and mutual learning. Students mapped and creatively explored problems, and have designed new solutions. All of them have followed stages of reflection and research, identified needs, defined design strategies to creation, implementation and feedback improvements. The final result was very well accepted by the partners and owners of the store and the restaurant. On the other hand the students have developed projectual exercises with a real context, having acquired skills and competencies identified in the course unit related to typography and branding.

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ATELIER IDEAL PROJECT / ASSOCIATION RENOVATE MOURARIA

The concepts of social and sustainable innovation have since 2008 been explored in Mouraria by a community association named Association Renovate Mouraria (Renovar a Mouraria) that wants to empower and help one of the oldest historic neighbourhoods in Lisbon, which has for many decades been neglected with all the resulting social problems and degradation of its built patrimony. Hence, the neighbourhood has faced major challenges in terms of gaining access to certain products, services and new visions to a level that can change the paradigm of inequity (Mendes & Padilla, 2014). The association is also involved with the Lisbon City Council strategy (BipZip programme) for the urban renewal of this neighbourhood, which aims at increasing the quality of life of their residents and attracting new ones (http://www.aimouraria.cm-lisboa.pt/). BipZip programme is a pioneering strategy by the Lisbon Municipality’s Body of Housing and Local Devel- opment, which promotes partnerships in the city’s priority neighbourhoods (Patti, 2017). Besides establishing local governance structures that facilitate communication and shared decision-making between the public administration and neighbourhood organisations, BIP/ZIP also includes an ignition funding programme for community partnership initiatives with a strong local impact. The programme needs to be approved every year. Historically Mouraria is where the Moors were allowed to live after the Christian reconquest of Lisbon in 1147 until being expelled in the 15th century. Little survives from that period except for traces of the medieval wall, even if it curiously remains the most multi-ethnic neighbourhood in the city. Mouraria has a population of over 30,000 from about 20 nationalities and a distinctive traditional and multicultural life built on strong community ties and networks. The majority of the foreign population is from Bangladesh, followed by immigrants from China, India, Pakistan, and Mozambique. This neighbourhood is also known as the birthplace of Fado (World's Intangible Cultural Heritage – UNESCO). The team of facilitators of Association Renovate Mouraria, in order to promote the regeneration of Mouraria, partnered with several community organizations, scientists, activists, institutions, politicians, artists, designers and IADE-Universidade Europeia teachers, master students and researchers. All together with the right set of methods and tools managed to create inspiring innovative ideas in this underserved community and have become an essential piece of the collaborative process needed to inspire and create change (Sánchez, 2016). Investment and residential growth are on the rise, changing Mouraria into one of Lisbon's more fashiona- ble neighbourhoods (Menezes, 2004). The new concept 'Market Fusion' was born in Martim Moniz, the main square, which is almost the new business card of the neighbourhood, featuring restaurant kiosks of many cui- sines, tented outdoor eating areas, concerts and a weekly fresh market.

Figure 9- Visual Identity from Atelier Ideal Project / Association Renovate Mouraria (https://www.renovaramouraria.pt/)

Figure 10 - BipZip Programme - Lisbon Local Development Strategy for Neighbourhoods or Areas of Priority Intervention (https://cooperativecity.org/2017/05/07/bipzip/)

Objectives and Methodology

The main goal of Ideal Atelier Project as a partner entity promoted by Association Renovate Mouraria with IADE–Universidade Europeia was the construction of a research and development project created in a co- creation process according to a communication & design approach to sustainability, in order to: § Streamlining the commercial dimension of Mouraria’s neighborhood through the training of local merchants and the promotion of their business, always with the assistance of a designer. The project counts on the participation of several partners who will be responsible for carrying out different activities. The specific activities and methodology developed were: Participation in the Communication and Image Consulting process by creating a communication and image plan for 10 local businesses; Re- search and product development based on a theoretical and practical research identifying products Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 103 Cristina Pinheiro, Isabel Farinha and Ana Margarida Ferreira

that are originally from Mouraria (products for which rebranding is needed); Participation in training workshops of local merchants, whose function is to disseminate tools for communication, networking, sharing of experiences and good practices suitable to the needs of the territory / business management; and enable local merchants, through an individualized monitoring program in the areas of communication, image, business management, the creation of moments of sharing good practices and networking. § Participation in the event Mouraria 24 hours - popup event in which the local merchants open their doors for 24 hours.

Figure 11- Association Renovate Mouraria - Associação Renovar a Mouraria, Beco do Rosendo, 8 1100 – 460 Lisbon (http://www.facebook.com/renovaramouraria)

Figure 12 - Community newspaper Rosa Maria (nº6; Author: Filipa Bolotinha)

Figure 13 - Project Retalhos da Mouraria (https://www.retalhosdamouraria.pt/; https://vimeo.com/189206834)

Figure 14 - Project Retalhos da Mouraria (https://www.kilometrolisboa.com/single-post/Retalhos-da-Mouraria)

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 104 Impact practices: Communication & Design Case studies

Retalhos da Mouraria is a project being developed by the Renovate Mouraria Association within the scope of the 5th edition of BIP ZIP. Through the implementation of a wide range of actions, the project evolves around three fundamental axes for the commercialization of the Mouraria and its economic sustainability: training of commercial agents in communication/image, attracting new publics and promoting an active network of merchants. At a design and communication level (Berman, 2009) Retalhos da Mouraria developed a local commerce website which is the result of diagnosis, training and follow-up of about 20 shopkeepers of the neighbourhood, during a year (2015/16). This collective of shopkeepers and the Renovate Mouraria team wanted to preserve and communicate the cultural and commercial diversity of services, products and flavours in a single virtual space. The project coordinators actively collaborated with merchants with different ethnic backgrounds. With them the work was mainly in the communication field by, for instance, helping them to redesign the shop window, improving online marketing, and developing product promotions. Besides, the Retalhos da Mouraria project promotes guided tours, where the guide presents the project and the cultural and commercial diversity of the neighbourhood to the visitors.

CONCLUSIONS

The main research question addressed in this paper was about knowing if designers and advertisers can accelerate underserved communities growth by shaping financial sustainability and social impact products. The answer to this question can be split into two parts. The first part is that the proposed practice-oriented advertising and design approach provided our design students (L3 Project) and Master students (Atelier Ideal Project/ Renovate Mouraria Association) several theo- retic and practical contributions for their thesis. With these projects, the students fulfilled the learning objectives identified in the courses where they were developed, since they have acquired knowledge, skills and competencies that were foreseen in the curricular units. Besides, the involved communities benefited socially and economically through these projects. The second part is that the potential created by sustainable design and social artefacts constitutes a research basis to depart from. Therefore, this paper invites other design and communication researchers to engage with practice theory and to explore this potential further.

ACKNOWLEDGEMENTS

§ L3 - Lisbon Common Laboratory Learning Project: Ana Margarida Ferreira (IADE Coord), Emília Duarte; João Bernarda (principal research team). Funding entity: Fundação Calouste Gulbenkian - Higher Education De- velopment Projects/ Innovative Projects in the Educational Domain 2015. Other partners: FCSH/Universidade Nova de Lisboa - Maria Inês Queiroz, Inês Castaño; Luísa Seixas; and IST, Instituto Supe- rior Técnico - Manuel Heitor; Carlos Silva; Paulo Maia. § Ideal Atelier Project / Renovate Mouraria Association: Filipa Bolotinha (direction member); BipZip (http://bipzip.cm-lisboa.pt/); Luís Medeiros, Master Degree in Design and Advertising student (Project Re- talhos da Mouraria).

REFERENCES

Berman, D. (2009). Do good design. How Designers can Change the World. Berkeley, California: AIGA Design Press. Bernarda, J., Ferreira A., Silva, C. & Queiroz, I. (2017) Design as a process tool of collaborative and multidisciplinary learning in society, The Design Journal, 20: sup1, S900-S914, DOI: 10.1080/14606925.2017.1353035. Mendes, M., Padilla, B. (2014). The Neighborhood of Mouraria in Lisbon. Estudo Prévio Magazine. Editor: CEACTUA, 4. ISSN: 2182-4339. Retrieved from http://www.estudoprevio.net/en/papers/22/maria-manuela-mendes-beatriz-padilla-.- the-neighborhood-of-mouraria-in-lisbon. Menezes, M. (2004). Mouraria, retalhos de um imaginário: significados urbanos de um bairro de Lisboa. Oeiras: Celta Ed- itora. ISBN 972-774-207-6. Cross, N. (2006). Designerly ways of knowing. London: Springer. Patti, D. (2017). Interview with Miguel Brito, Municipality of Lisbon on 12 January 2017. CooperativCity. Retrieved from https://cooperativecity.org/2017/05/07/bipzip/ Sánchez, I. (2016). “Ai, Mouraria!” Music, Tourism, and Urban Renewal in a Historic Lisbon Neighborhood. MUSICultures 43(2), 66-88. Retrieved from https://journals.lib.unb.ca/index.php/MC/article/viewFile/25475/29519. Stoecker, R. (2005) “But I Don't Do Research” In: Research Methods for Community Change. Thousand Oaks: SAGE Publica- tions, Inc.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 105

Design: A field in search of its own contours

Raquel Ponte a and Lucy Niemeyer b,c

a Department of Visual Communication Design Federal University of Rio de Janeiro, Brazil [email protected]

b CIAUD/FA-ULisboa c UNIDCOM/IADE-Universidade Europeia Lisbon, Portugal [email protected]

ABSTRACT

A fundamental issue for the design area is the definition of its own contours. American art critic Clement Greenberg (1960) stated that defining the limits of action of the various existing areas and the products they generate is a concern of our time and our culture. In this sense, in 2009, Mexican designer Gabriel Simón Sol published the book More than 100 definitions of design, in which he compiled several concepts, some related, some contradictory, about this area. This profusion of definitions reveals the plurality of conceptions about design – this complex, comprehensive and multidisciplinary activity – and each one sheds light on a particular aspect of this field of action, valuing some characteristics to the detriment of others. This article aims to present an overview of these definitions, showing the different points of view about design field which varied over time in order to question the importance or necessity of establishing or not, nowadays, well defined contours for this area of knowledge.

Keywords: Design, Definitions, Concepts, Field, Countours.

INTRODUCTION

A bibliographical review on design reveals the frequency with which different authors begin their texts with the conceptualization of the field, as identified by Lucy Niemeyer (1995). This movement of identification of the specificities of this area was also pointed out by the Japanese designer Kenya Hara (2007), in the work with the suggestive title “What is Design?”, in which he affirms that a fundamental question for design field consists precisely in the definition of its contours. Defining the limits of action of the various existing areas and the products it generates is a concern of our time and culture, according to American art critic Clement Greenberg. “Western civilization is not the first to turn to the examination of its own foundations, but the one that took the process further” (Greenberg, 1997). In the text "Modernist Painting", of 1960, Greenberg shows how this occurred in the plastic arts, for a need to legitimize each specific field: painting, sculpture, printmaking etc. But we can extend this idea also to design, since we can identify, over more than a century, different ways in which theorists and designers have come to conceptualize this field. For the French sociologist Pierre Bourdieu, the question of the field was crucial for the construction of his thought (Montagner, Montagner, 2011), insofar as he understood that there was a set of internal and external forces to the consecrated or forming fields that contributed for the delimitation of its contours. Design does not escape this case: it consists of a field that seeks to legitimize and find its space in front of the others. Considering the multiple design concepts already formulated, the Mexican designer Gabriel Simón Sol published the book More than 100 definitions of design (2009), in which he presents several concepts, some related, some contradictory, about this area. This profusion of definitions reveals the plurality of design conceptions and each one sheds light on a particular aspect of this field of action, valuing some characteristics to the detriment of others. Design historian Penny Sparke, quoted by Sol (2009), clearly synthesized the issue in 1986: Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 106 Design: A Field in Search of its Own Contours

The available design definitions are varied, complex, contradictory, and are in a state of permanent movement. However most agree that the design concept is culturally determined by external forces that shaped it and by the contexts in which it manifested, as well as by the numerous faces presented to the world.

In this article, it will be shown that the establishment of a definition for design reveals the look on this field of a certain theorist, author or certain current of thought, since the definition can only be created from a critical view about the area in relation to the others. For this, a panorama of the most relevant concepts for the field will be presented.

DESIGN: A PROFUSION OF APPROACHES

Certainly one of the causes for the emergence of so many definitions about design is the own development of the field, which closely follows economic and social transformations, especially the changes of capitalism, since, in a general way, design is, or industrial design is, according to World Design Organization (WDO), “[...] a strategic problem-solving process that drives innovation, builds business success, and leads to a better quality of life through innovative products, systems, services, and experiences.”1. At the turn of the nineteenth century to the twentieth, the basis of the economy was: product, mass production (Kotler, Keller, 2006), property, fixed workers in factories, tangible thigs. From the 1950s and 1960s, with market saturation, culminating with the oil crisis in 1973 (Harvey, 2007), flexibilization became the tonic of late capitalism. "Liquid modernity", as Bauman (2001) states, is characterized by mobility, service sector growth, and production capacity not only in series but also on demand. Therefore, seeking to adapt to the new economic reality of each moment, the field of design also undergoes transformations, which entails a change of its definition throughout history. Richard Buchanan (1995a) points out the broad spectrum of design and the diversity of product styles and qualities as a difficulty for comprehending this field and understands the plurality of design theories and design Histories as a consequence of distincts beliefs about how this area should be, about its purposes and about its practices. Buchanan, for example, to explain these different approaches, takes a different strategy from Sol: instead of presenting multiple definitions, he chooses to describe the four predominant views on the origin of design in his text "Rhetoric, humanism and design", namely: 1) in the Prehistoric period; 2) at the beginning of the twentieth century, with the formation of the discipline; 3) in the Industrial Revolution; And 4) in the creation of the universe. For this author, these four narratives about these origins reveal different ways of understanding the essence of design, since each emphasizes a particular aspect. The line of understanding of the origin of design in the Prehistoric period is based on the idea that this is an inherently human activity. Kenya Hara, alined with this idea, explains that design initiates at the moment when a man begins to use tools, as he begins to reflect on the environment in which he lives, in order to transform it through intelligence. According to this author (Hara, 2007), “[...] the beginning of human wisdom may have been the beginning of design.” John Heskett (2005) shares this view by writing, for example, that "Design is one of the basic characteristics of what is to be human...” and, in its essence, consists in the human capacity to shape our Environment to meet our needs and give meaning to our lives. Ken Friedman and Erik Stolterman (apud Disalvo, 2012) also claim that design practice predates its professionalization, as “Making tools is one of the attributes that made us human in the first place.” The vision of design origin in twentieth century – one of the most widespread conceptions in the academic world – understands the initial point of design as the moment it is formalized as a group of disciplines that combine theoretical knowledge and practical action with productive objectives. The human capacity for transforming the environment exists, but it is constituted as design in the moment it acquires an institutional aspect in the transmission of knowledge. In this sense, the Bauhaus (1919-1933) became a landmark in the institutionalization of a field that can be learned in a formal environment. The school sought to align art and design, promoting experimentation workshops with an eclectic faculty, formed by plastic artists, architects, designers, among other professionals. Buchanan (1995a) states that Bauhaus's success was to integrate design, society and practical action. Buchanan, in regard to this view of design, makes an important retrospective of the integrated arts in antiquity, presenting the thought of Aristotle (384 BC - 322 BC) about making. For this philosopher, man has an ability to make that presupposes the activity of forethought – this one, according to Buchanan, is what came to be known as design later. At that moment, however (and in Prehistory, if we went further back), there was no

1 Definition of industrial design, available at http://wdo.org/about/definition/. Access: 5 oct. 2017. Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 107 Raquel Ponte and Lucy Niemeyer productive system that separated planning from making, since the artisan, in creating a certain product, planned and executed the object as processes of the same practice. In Renaissance, however, a movement of disjunction between these two stages begins, once, with the Cartesian philosophy and modern science, the specialization of activities begins, separating the fine from the practical arts. In this way, the unity of making and its theoretical bases is lost, separating project and execution, ideal and real, which definitively marks our understanding of design as only the forethought stage. Buchanan says, however, that at the end of the nineteenth century, the Arts and Crafts movement, led by John Ruskin and William Morris, revalues the activity of making. Both men were the spokesmen of a society troubled with the directions started from the Industrial Revolution. They critized the low quality of industrialized products, which became part of society. For this reason, they defended the return to the manufacture products and the valorization of the artisan. However, their ideals proved to be economically impracticable, since artisan products with high quality, due to their low productivity, became unattainable for the lower classes. Industrialization was a movement with no turning back. In this sense, the institutionalization of design at the beginning of the twentieth century contributed to solve the following impasse: how to unite design and production so as to guarantee good products that meet the demands and needs of society. Buchanan also identifies a third view on design origin, based precisely on the creation of a new productive process that established this separation between design and execution. In the Industrial Revolution, as a way to enable the rational production of goods on a large scale, the specialization of work begins. What was once developed by only one person – the artisan, who had the knowledge of the entire process of creation and production – began to be divided by more people: each professional had the knowledge of only a portion of the production. Then came the figure of the designer. Adrian Forty, in his book Objects of Desire: Design and Socie- ty since 1750 (2013), follows this line by analyzing design objects in English post-Industrial Revolution society. He defines the word design in two senses: as the appearance of things or as the preparation of instructions for the manufactured goods production, the latter being the more exact meaning, according to the author. And he concludes that the special aspect of the word is precisely this ambiguity: the fact of transmitting both senses, since "...The appearance of things is, in the broadest sense, a consequence of the conditions of their production" (Forty, 2013). It is interesting to note that the first mention of the term “design” appears before the Industrial Revolution in the Oxford English Dictionary, in 1588. In this publication, design means “a plan or outline conceived by man for something that will take place” (Bürdek apud Gambarato, 2002). This is because the division of labor between designer and maker took place in architecture centuries earlier, still in the Renaissance, when it was assumed that the architect's task would be to define the forms of construction, while that of the constructor would be to unite form and material (Ingold, 2012). The carpenter came to be seen as an "instrument" of the architect, as explained by the Renaissance Leon Battista Alberti (1404-1472) in the preface to his book Ten books, in which he delimits the field of architecture (Ingold, 2013). Intellectual work was valued at the expense of the manual, since, under the influence of Plato's philosophy (427a.C.-347a.C.), it was believed that the world of ideas would be perfection, while the material world, mere imperfect imitation. Finally, according to Buchanan, the fourth version on design origin is based on the creation of universe as a divine act, and this is therefore the first design action that existed. This act of initial creation serves as a mirror for human beings when they wish to project an object. According to the anthropologist Tim Ingold (2012), the British theologian William Paley stated in the eighteenth century that the complexity of animals made clear the existence of an intelligent creator. Just as a watchmaker conceives and creates a watch, there would also be a designer for living things: God. This superior intelligence would have created a first project of each living being and the multiplicity that occurs in nature would be the result of mere mechanical execution, copies of the original. Thus, for Paley, the existence of complex living beings would reveal the presence of a Creator, of an intelligent mind, since there is no design for him without a designer. More recently, this idea still permeates some authors. Buchanan (1995a) suggests that this thought promotes a conception of responsibility in creation, Since George Nelson understands the appropriateness of a project as a spiritual quality and shows a care with conscious thought, with proper, just action. Although this fourth line, among the four described by Buchanan, has less adepts, it is important to emphasize the importance of its ethical conception and the necessity of this type of conscience in design. This is because the objectives and processes in this field are not determined by nature, in the same way as an exact science, but by our decisions (Buchanan, 1995a). It is important to note, after the description of the four origins of design, that the conceptions of this field vary according to the gaze that is thrown upon it – that is, if we think of the design synchronously. The early version of this activity in Prehistory emphasizes the human capacity for creation. The vision about design origin in the twentieth century highlights the need for institutionalization to constitute the camp. The theory that the origin of this area goes back to the Industrial Revolution highlights the specialized form of production. And the understanding of the principle of design in divine origin emphasizes that human creations are mirrored in the creative act of God. Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 108 Design: A Field in Search of its Own Contours

We have seen that the definitions of design can vary not only synchronically, but also diachronically, since the activity itself changes over time, adapting itself to socioeconomic changes. Buchanan (1995b) states that the concept of design has changed: from commercial activity it has become a segmented profession, changing into a field of technical research, becoming a liberal art of technological culture. Therefore, we can see that each conception must be analyzed in the perspective of the historical context in which it was formulated. In this way, we must always ask ourselves, when we are faced with a certain definition: what is the repertoire of the person who enunciated it (the area of study, the line of thought, the philosophy and the nationality of the author) and what is the context in which it was formulated? For example, Kenya Hara (2007) argues that design is not based only on Western thinking, unlike the more widespread conception among designers. Of Japanese nationality, he believes that this vision stems from the line of thought that understands design origin in the Industrial Revolution. It is clear that each of these narratives implies a proper understanding of what design is. But we can define an area of knowledge in a different way as well as throw a narrow look at it: comparing it and / or counteracting it to other fields, in order to emphasize its particularities. An important contribution of Buchanan (1995a) is the distinction between the sciences of discovery and sciences of invention. Those of discovery deal with natural phenomena, which exist independently of us. A physicist, for example, to validate a theory, makes experiments to verify if the facts agree with the formulated hypotheses. If something happens differently than predicted, the hypothesis must be reformulated. If it happens within the expected, the theory holds true until there is some fact that refutes it. In the sciences of invention, there are no true or false hypotheses, only more or less adequate answers to a problem. For Buchanan (1995a), design is an example of a science of invention, because its object is not given, but created through the activities of invention and planning. The choice of methodology therefore impacts on the result. However, it is important to emphasize: although choosing the same method, it is possible to formulate several resolutions for the same problem. Within this conception, Buchanan (1995a) points out a difference between engineering and design: the former deals with what is necessary; the second, with what is possible. A curious anecdote, which stereotypes the necessary reasoning of engineering: an engineer, accused of plagiarism for copying the supersonic Concorde, defended himself by explaining that, having used the same deductive models and calculations as Concorde engineers, he could only have designed the same aircraft (Daforge, 1995). Nigel Cross, in his article Designerly ways of knowing (1982), argues that designers have their own way of thinking, unlike other areas. For this mode of thought, the author creates the neologism designerly. Cross says that in education there is a clear distinction between the humanities and the sciences, but he understands there is a third culture, different from the two cited: design. To support this claim, Cross cites Bryan Lawson's research, which looked at how scientists and designers solve problems. Lawson concludes that engineers reason analytically, while designers synthetically. The differentiation between design and art, also pointed out by Cross, consists of another question that varies throughout history: there are movements of approximation (as occurred in the Bauhaus) and movements of separation between these two areas. What is important is to realize, when one field is conceptualized comparing to another, that any definition will also depend on the characteristics that one wishes to emphasize in both activities. The anecdote about aircraft plagiarism raises two questions: 1) Would engineering be so necessary as to produce only one result for the given problem? 2) To what extent the consideration of engineering as a necessary area leads us to a different design concept? From the difference in the ways scientists and designers solve problems, discussed earlier, we can point to another design concept that is very widespread in the area, according to Lawson and Dorst (2009): design as a problem solver. Designer uses a methodology in his / her project to analyze the issue described in the briefing, to research information on competitors and target audience, to develop working hypotheses, and then to evaluate the proposal – solution – best suited to the client's strategy (Buchanan, 1995b). Bonsiepe (2012) states that “[...] design is characterized by looking at the world from a project perspective, and science look at it from the perspective of recognition...” – a characterization that is based on the strategy of defining one area by comparing with the others (in this case, with Scientific Sciences). But this widespread view presents three problematic points. Let's see what they are. First: the linearity of the project is questioned by some authors. Buchanan (1995b) quotes mathematician and designer Horst Rittel, who in 1960 criticized the division of the design process into two stages: problem definition (analytical phase) and problem solution (synthetic phase). His critique raises the question that designers often encounter wicked problems, that is, with poorly formulated problems, inconsistent or confusing information, in projects in which clients and others involved in decision making have conflicting values. Accord- ing to Rittel and his collaborator Melvin Webber (apud A.Telier, 2011),

In order to describe a wicked problem in sufficient detail, one has to develop an exhaustive inventory of all conceivable solutions ahead of time. The reason is that every question asking for additional information depends upon the understanding of the problem – and its resolution – at that time. Problem understanding and problem resolution are concomitante to Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 109 Raquel Ponte and Lucy Niemeyer

each other. [... The] process of solving the problem is identical with the process of understanding its nature.

The indeterminacy of a design problem generates solutions that can not be considered right or wrong, but good or bad, according to each case. Buchanan explains that such indeterminacy is due to the object of design being a quasi-subject matter. In this sense, we can relate the wicked problems (1995b) to the characterization of design as a science of invention, made also by Buchanan (1995a), because “The problem for designers is to conveive and plan what does not exist yet, and this occurs in the Context of the indeterminacy of wicked problems, before the final result is known” (Buchanan, 1995a). Donald Schön (2000) follows a similar line when he states that design is a process of construction, a process of synthesis, in which the problem can be constructed as the project progresses, not necessarily being given a priori. Second problematic point: the understanding of design as the core of design should not be seen in a naturalized way. Fabiana Heinrich (2013), questions, using as theoretical reference the French sociologist Pierre Bourdieu, the discourses that legitimize the field of design based on the understanding of the project as the foundation of the activity, seeking to understand the historical dimension of the construction of this concept. In our view, the conception of the project as the core of design is a consequence of the separation between the Renaissance between making and forethought, as Buchanan (1995a) has observed. Third, the assertion that design is a problem solving activity can also be limiting, if not illusory. Lawson and Dorst (2009) affirm that this understanding is reductionist, since this is a multifaceted field. The strategy used by these authors to present a broader understanding of design, therefore, is to address the main assertions about the area – for example, design as a mixture of creativity and analysis, design as learning, as well as design as a problem solver – to arrive at a more global vision. Ingold, instead, is radical, denying that design is a problem solver. He begins his speech by describing a scene of a breakfast and all the difficulties and learning that we have to face in order to be able to properly use the domestic utensils, furniture and packaging around us. He then asks himself: Would it be the purpose of design to make life easier? Or the designer would be a cheat- er who would put obstacles in our daily lives, determining the rules of the game? This is because “Every object of design sets a trap by presenting a problem in the form of what appears to be a solution” (Ingold, 2012). Ingold gives examples of the spoon and the chair, arguing that we could take a liquid with a bowl directly to the mouth, without the need of the spoon, and that we used to use the chair, even the act of sitting not being a natural posture to be human. In this way, we shape our conduct according to the created objects. Ingold´s text leads us to reflect on two issues: the user's understanding as a fundamental part of the design process and the designer's responsibility to him. Although we commonly speak in the academic and professional circles about the importance of the user to the project activity, in fact much is created, ignoring the activity of use, without market research and usability tests. A movement has been growing since the 1980s, however, as the need for a better understanding of the target audience is felt, in order to effectively direct the creation to the desires of the clients. In addition, it has become important to include the consumer in the creation process itself as a key element in the project. From this consciousness, one must generate another, which is the designer's responsibility to his creations. The materialized projects, which may or may not be understood as solutions to problems, will have consequences for the user, for the environment and for society as a whole, in its use and its post-use. If the “Designers deal with matters of choice, with things that may be other than they are” (Buchanan, 1995), then there is necessarily an aspect of reponsibility inherent in the activity. Since the 1970s, a self-critical movement has been gaining strength, as it became visible the negative impacts of large-scale production, consumption incentives and planned obsolescence. This movement is relatively recent, "Because product design is thoroughly integrated in capitalist production, it is bereft of an independent critical tradition on which to base an alternative" (Thackara, 1988). Social Design, for example, driven by the thoughts of Victor Papanek (1977), questions the role of the designer in the face of society. The industry and the designer would be responsible for the critical situation of the environment. He proposed that design, instead of just serving the interests of the market, should seek to meet the needs of marginalized groups, creating opportunities for development. John Thackara (1988) agrees with this view, stating that design is not a neutral tool since it serves economic and political interests. And this tool has been used as a way to generate profit for companies that have been designing products and services for centuries. Design is part of the market economy (Forty, 2013) and the production of differentiated objects (for the same function) consists of a strategy that goes back to the Industrial Revolution. Forty (2013) shows the conscious use of differentiation in Victorian England by presenting the catalog of suppliers of knives and combs, among other utensils. For example, the company Montgomery Ward & Co. offered, in 1895, 131 choices of pocket knives for four distinct groups: ladies; Men; Boys; And men, heavy and hunting (within each group, differences were subtle). According to Forty, the differences between the products were in line with the need of individuals to express social distinctions between classes, genders, age group, among other aspects. Therefore, even at that productive time when it was desired to optimize products Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 110 Design: A Field in Search of its Own Contours to suit large-scale production, suppliers realized that it was necessary to maintain the differentiation, even at the cost, in order to retain customers. Other critical design movements also inquire about the role of the designer and the designed objects in our society, such as Critical Design and Design Anthropology. Critical Design, created by the British designers An- thony Dunne and Fiona Raby, borrows strategies from the art to reflect on this field. According to Tau Ulv Lenksjold (2011), this critical movement consists more of an attitude towards design than a methodology itself. The term emerged at the turn of this millennium to name an area that emerged from the arts and design movements of the 1960s and 1970s, which were social and political in character, but is still practiced today. Critical Design is not a sub-area of design, but rather an approach that transverses the field. Its supporters question the status quo of created objects and established relationships between them and society and suggest that design has a questioning role, not just a problem solver.

Critical Design is related to haute couture, concept cars, design propaganda, and visions of the future, but its purpose is not to present the dreams of industry, attract new business, anticipate new trends, or test the market. Its purpose is to stimulate discussion and debate amongst designers, industry, and the public about the aesthetic quality of our electronically mediated existence. [...] Critical Design takes as its medium social, psychological, cultural, technical, and economic values, in an effort to push the limits of the lived experience [...]. (Dunne, Raby apud Disalvo, 2012)

Although Critical Design is not a methodology, designed objects can be used as a methodological tool to change individuals' perception and the understanding of reality. For example, Dunne and Raby in 2007's Tech- nological Dream Series: Number 1, Robots Models2 developed robots with formal characteristics quite different from what is usually meant by a robot. Each one with its characteristic and personality. With this, in the interaction between participants and objects, concepts naturalized by the mainstream are discussed: Why robots must have a certain shape to be understood as robots?3 In another experiment (Placebo project, 2001), designers created objects sensitive to electromagnetic fields so that participants could interact with them and narrate their experiences. In the words of Dunne and Raby,

The Placebo project is an experiment in taking design research beyond an academic setting into everyday life. We devised eight prototype objects to investigate people’s attitudes to and experiences of electromagnetic fields in the home, and placed them with volunteers. Made from medium density fibreboard (MDF) and usually one other specialist material, the objects are purposely diagrammatic and vaguely familiar. They are open-ended enough to prompt stories but not so open as to bewilder. Once electronic objects enter people’s homes, they develop private lives, or at least ones that are hidden from human vision. Occasionally we catch a glimpse of this life when objects interfere with each other, or malfunction. Many people believe that mobile phones heat up their ears, or feel their skin tingle when they sit near a TV, and almost everyone has heard stories of people picking up radio broadcasts in their fillings. We are not interested in whether these stories are true or scientific, but we are interested in the narratives people develop to explain and relate to electronic technologies, particularly the invisible electromagnetic waves their electronic objects emit.4

We can see that the experience of the participants becomes a source of research to reflect on reality and that Critical Design aligns with the idea of wicked problems, addressed by Rittel and Buchanan. Dunne and Raby (2013) believe that “the potential to use the language of design to pose questions, provoke, and inspire is conceptual design's defining feature” and thus becomes central to Critical Design the engagement of participants as a way of encouraging action. The works of this movement eventually move away from the market and are usually exhibited in museums or made available to volunteers who want to contribute to the projects. We can see that the engagement and participation of other actors challenge the question of creation in design, since they suggest a participatory, procedural design, done in coauthoring. These problems are also discussed by Design Anthropology, which emerged in the early 2000s as a hybrid form of design and anthropology. In a synthetic way, this new area “[...] involves interventionist forms of research and project in the field,

2 A video of this project is available at https://vimeo.com/2611597. Access: 14th July 2016. 3 The robots are part of MoMA´s collection. Available at http://www.moma.org/interactives/exhibitions/2011/talktome/objects/140021/. Access: 14th July 2016. 4 Dunne & Raby: Placebo Project. Available at http://www.dunneandraby.co.uk/content/projects/70/0. Access: 14th July 2016. Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 111 Raquel Ponte and Lucy Niemeyer work realized through iterative cycles of reflection and action, combining procedures, methods and tools of the two areas, design and anthropology” (Anastassakis; Kuschnir, 2014), using several methods of collaboration among the various stakeholders involved. Gunn and Donovan (2012) also claim that the practice of design anthropology seeks to instigate different forms of design in emergent situations, where the problem is not always given, committing to people and places, departing from the traditional linear conception of design project. We can see from these three examples (Social Design, Critical Design and Design Anthropology) that these critical movements question the more naturalized conceptions of design. And, when they raise these problems and propose new practices, they reformulate the possibilities of the field, changing its definition and its bases. Recalling Sparke's citation, presented at the beginning of this paper, we see that conceptualizations of design are varied, complex, contradictory, in a state of permanent movement. Concepts emerge from design practices, but also transforms the practice itself. As a definition is crystallized, there is, as a consequence, either a reaffirmation of the area or its transformation, based on this questioning.

CONCLUSION

We can see how the understandings about design, presented in this article, change according to time – once the field itself evolves – and according to space – each region ends up having a proper look at this area. In addition, defining design by looking only at itself, etymologically, or comparing it with other fields, also makes the understanding about this area unique. What this need for definition shows, so well observed by Greenberg (1991), is that it was generated historically in modern civilization. If we take design, object of study of this article, we can perceive that the association or not with anthropology and other social sciences, and the approximations or departures from the arts, architecture or engineering, eventually shape the visions about design in different ways, as all these fields seek its own legitimation. The internal or external changeable forces that affect design end up transforming the definitions of design into time or space. More than reaching a consensus on what design is, it is important to analyse the active forces to perceive how the field is placed in each view. This was Buchanan's proposal in addressing the four origins of design in "Rhetoric, humanism and design" (1995a), with which we agree. Returning, however, to Greenberg's text about the Western search for delimitation – a search, we can say, that is an inheritance of Cartesian world-categorizing thinking – we can see that there may be having nowadays a transformation in relation to the wish for this search. In art, for example, there has been a movement that began in the second half of the twentieth century, which dissolves the rigid boundaries between the subareas, when artists create works that can no longer be classified only as painting or sculpture or printmaking: these works are hybrids. Looking at design, would not Critical Design and Design Anthropology be hybrids in which multidisciplinarity is desirable, that is, where boundaries are fuzzy? More and more we come across design products that are also art or architecture or cinema or comics, being an amalgamation of those fields. Bourdieu, by entitling his text "The genesis of concepts of habitus and field" (1989), made it clear that any concept is dated historically, having an origin. Even the possibility today of understanding design, like other fields, in a more plural way says a lot about our time and about our convictions. Instead of trying to create a more precise definition of design – once any definition eventually encapsulates its boundaries – it becomes more interesting to understand the possibilities of design, extending it beyond its boundaries. Investigating the multidisciplinary possibilities of design can contribute to generate products more capable of offering answers to high complexity questions of today's world, where connections become increasingly present.

REFERENCES

Anastassakis, Z., Kuschnir, E. (2014). Trazendo o design de volta à vida: considerações antropologicamente informadas sobre as implicações sociais do design. Bauman, Z. (2001). Modernidade líquida. Rio de Janeiro: Jorge Zahar. Bonsiepe, G. (2012). Design como prática de projeto. São Paulo: Blucher. Buchanan, R. (1995a). Rhetoric, humanism and design. In: BUCHANAN, Richard; MARGOLIN, Victor (Eds.). Discovering design. Explorations in design studies. Chicago e Londres: The University of Chicago Press. 23-66. ______(1995b). Wicked problems in design thinking. In: BUCHANAN, Richard; MARGOLIN, Victor (Eds.). The idea of design. Cambridge e Londres: The MIT Press. 3-20. Cross, N. (1982). Designerly ways of knowing. Design Studies, Cambridge, v.3, n.4, 221-227. Definition of industrial design, available at http://wdo.org/about/definition/. Access: 5 oct. 2017. Disalvo, C. (2012). Adversarial design. Massachusetts: The MIT Press. Dunne, A., Raby, F. (2013). Speculative everything: design, fiction and social dreaming. Massachusetts: MIT Press.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 112 Design: A Field in Search of its Own Contours

Dunne & Raby: Placebo Project. Available at http://www.dunneandraby.co.uk/content/projects/70/0. Access 14 jul. 2015. Dunne & Raby: Technological Dream Series: Number 1, Robots Models. Available at https://vimeo.com/2611597. Access: 14 jul. 2016. Forty, A. (2013). Objetos de desejo: design e sociedade desde 1750. São Paulo: Cosac Naify. Gambarato, R. R. (2002). O desenho do processo: comunicação e semiótica em design. 2002. 209 f. Dissertação (Mestrado em Comunicação e Semiótica) – Pontifícia Universidade Católica de São Paulo (PUC-SP), São Paulo. Greenberg, C. (1997). Pintura modernista. In: FERREIRA, G. e COTRIM, C. (orgs.). Clement Greenberg e o debate crítico. Rio de Janeiro: Jorge Zahar. 101-110. Gunn, W., Donovan, J. (2012). (Eds.). Design and anthropology. London: Ashgate. Hara, K. (2007). “What is Design?”. In: Designing design. Baden: Lars Muller Publishers, 410-436. Harvey, D. (2007). A condição pós-moderna. São Paulo: Loyola. Heinrich, F. (2013). O. Crítica à noção de metodologia de projeto. 2013. 242 f. Dissertação (Mestrado em Design) – Pontifícia Universidade Católica do Rio de Janeiro (PUC-Rio), Rio de Janeiro. Heskett, J. (2005). Design: a very short introduction. Oxford: Oxford University. Ingold, T. (2012). Introduction: The perception of the user-producer. In: GUNN, Wendy; DONOVAN, Jared. (Eds.). Design and anthropology. London: Ashgate. 19-33. Ingold, T. (2013). Making. Nova Iorque: Routledge. Kotler, P., Keller, K. L. (2006). Administração de marketing. São Paulo: Pearson Prentice Hall. Krippendorf, K. (1995). On the essencial contexts of artifacts or on the proposition that 'design is making sense (of things)'. In: BUCHANAN, Richard; MARGOLIN, Victor (Eds.). The idea of design. Cambridge e Londres: The MIT Press. 156-184. Lawson, B., Dorst, K. (2009). Design expertise. Oxford: Elsevier. Montagner, M. Â., Montagner, M. I. (2011). A teoria geral dos campos de Pierre Bourdieu: uma leitura. Revista Tempus Actas de Saúde Coletiva, São Paulo, vol. 5, n.2, 255-273. Niemeyer, L. (1995). Desenvolvimento e modernismo: implicações para o ensino de design na ESDI. 1995. 248 f. Dissertação (Mestrado em Educação) – Universidade Federal Fluminense (UFF), Niterói. Papanek, V. (1977). Diseñar para el mundo real: ecologia humana y cambio social. Madrid: Hermann Blume. Schön, D. A. (2000). Educando o profissional reflexivo: um novo design para o ensino e a aprendizagem. Porto Alegre: Art- med. Sol, G. S. (2009). + de 100 definiciones de diseño… (…y las que podrá elaborar el curioso lector después de haber leído este libro). Xochimilco: Universidad Autonoma Metropolitana. Thackara, J. (1988). (Ed.). Design after the modernism. Beyond the object. London: Thames and Hudson. 11-34.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 113 Curators: what can Design learn from contemporary art?

Hugo Reis Rocha a, b, c

a Instituto Federal Fluminense, Brasil b Universidade Europeia, Laureate Universities, Lisbon, Portugal c UNIDCOM/IADE [email protected]

ABSTRACT

The present paper analyses Design as a complex and specialized service, which faces many barriers in management and devaluation. It also points that the lack of understanding makes harder to clients find Design studios that perfectly match their needs. As ways to overcome those barriers, it analyses the dynamics of the contemporary art market and two other initiatives in Design (Behance and Design Export in Brazil) as benchmarking for creating a curatorial model for the Design sector, as presented in the end. Keywords: Design; Strategy; Business Model; Curator

INTRODUCTION

A creative business, in general, faces many barriers that keep them from growing more sustainably, as pointed by Greg Orme (Pestrak, 2007), CEO of the Center for Creative Business in London. From the lack of ambition to the belief that creative businesses are not commercially viable, these barriers may also present themselves as opportunities for a new figure to be introduced in the process. Serving as the missing link between the Design studios that struggle to find clients and the customers who don't have enough understanding of the sector – Design Curators – may make more comfortable choosing between so many options. Besides, this paper aims to analyze the nature of Design as a complex service ecosystem and process, pointing how a Design curator, working as a bridge between the parts, may bring a new dynamic to the sector, improving relationships and results. In an attempt to come up with proposed model, it was essential first to understand the how services are brought into the market and consumed. After that, we took into account two different initiatives, providing valuable insights to our proposition. First, we look at Behance's curated galleries and featured sites, and secondly, we analyze the Design Export program in Brazil. Although different from each other, both have shown to have up and downsides that helped shape what we believe to be a better model.

GOODS AND SERVICES CONSUMPTION

Before entering the specifics of the Design sector, it is important to understand the difference between products and services, how they may impact approaches towards clients, and how it interferes with the understanding of the sector. "There is general agreement that inherent difference between goods and services exist and that they can result in unique, or at least different, management challenges for services business and for manufacturers that sell services as a core offering" (Zeithaml & Bitner, 2003, p. 20). Zeitham and Bitner (2003), list four key features to services that affect how they are offered and consumed, which are: intangibility; heterogeneity; simultaneous production and consumption; and perishability. For this matter, we will focus on the first two which, in our understanding, may influence the Design sector in a more significant way. The principal difference and, probably easier to understand that distinguishes goods and services is intangibility. "Because services are performances or actions rather than objects, they cannot be

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 114 Curators: what can Design learn from contemporary art? seen, felt, tasted, or touched in the same manner that we can sense tangible goods" (Zeithaml & Bitner, 2003, p. 20). That brings a marketing implication since the "actual cost of a 'unit of service' are hard to determine, and the price-quality relationship is complex." (Zeithaml & Bitner, 2003, p. 21). That issue escalates as the service becomes more specialized and complex. The intangibility makes a service hard to describe, and as complexity increases, it gets harder to define and describe (Zeithaml & Bitner, 2003). The second characteristic of services that is essential to Design is heterogeneity:

“services are performed, frequently produced by humans, no two services will be precisely alike. The employees delivering the service frequently are the service in the customer's eyes, and people may differ in their performance from day to day or even hour to hour. Heterogeneity also results because no two customers are precisely alike; each will have unique demands or experience the service in a unique way. Thus the heterogeneity connected to with services is largely the result of the human interaction (between and among human employees and customers) and all of the vagaries that accompany it”. (Zeithaml & Bitner, 2003, p. 21)

Being Design a service – and a very specialized one – for most times it is hard for clients to have an in- depth understanding of the sector, as well as finding the correct match to their needs. Design studios are different from each other in a large variety of ways, like size, positioning, pricing, specialties, and skills, to name a few. This level of complexity is pervasive in services, as pointed by Zeitham and Bitner (Zeithaml & Bitner, 2003, p. 479). "Because services are intangible and are not created on a factory assembly line, service firms have great flexibility in the configuration of services they offer." This complexity, although fascinating for allowing uncountable possibilities of outcome for projects, brings a downside for Design. Since clients don't fully understand Design methods and approaches, it is easy for them to associate Design with something superficial, undervalue the provided services, and don't take full advantage of the skills that could help their businesses, putting Design on an aesthetic sphere instead of a strategic one.

“Design is being devalued. It is now so quick to generate and so fast-changing that it is ‘almost like fast food'. Sites like ‘It's Nice That', whilst great visual resources, reinforce this issue by being more about the surface of Design rather than actually about what underpins it and a way of thinking. Due to speed and a perceived need for change, Design in some sectors has such a short lifespan that even the work itself is losing value. Design is also being devalued by the fact that there are too many Designers and not enough jobs. Over-supply and less value afforded to certain Design sectors is clearly evident in stagnant charge-out rates, and there is a lack of value attached to experience.” (Furniss, 2015, p. 22)

As a service, Design needs to come up with strategies to overcome such barriers. One viable way might be linking the offer and demand for services to diminish the gap caused by the insufficient skills that clients may have when evaluating the quality and adequacy of a performed service studio (Zeithaml & Bitner, 2003). Only an expert customer, one who knows enough about the Design, is likely to find prices that are directly comparable. That's where a curator figure can be an asset for Design studios and clients. The customer's trust is no longer set to a sale pitch of the service provider but instead assured by the technical knowledge of the curator. In the last section of this paper, we will analyze how a curator model might apply to Design and how it may help face some of the issues presented. But before that, we did a brief understanding of how curators work in the art market. Bringing the matter into the Design field took two different approaches to what might be similar to a curator in Design, and that provided some insights to the proposed method: Behance curated galleries and Design Export in Brazil.

THE ROLE OF CURATORS IN THE CONTEMPORARY ART MARKET

The art market is a unique one since many collectors cannot evaluate the quality of an art piece (Prendergast, 2014) and relay on the figure of an intermediary to help them do so. This character usually is an art gallery, that has the proper knowledge to help the collectors make better decisions than when being on their own. Entering the art business means also entering a world of uncertainty, especially contemporary art. Much may influence the value of a piece and to have the help of specialists can mitigate the risk of failure but does not always guarantee success. Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 1 15 Hugo Reis Rocha

“Contemporary curators create and contribute to public dialogues about ideas and art strategies that address the world in all its complexities. They also create opportunities for artists. The curator’s work is derived in large part from the practice and production of visual artists, but she/he can also draw on intellectual and creative contributions from other disciplines in the arts and from many other areas of exploration in society." (Love, n.d., p. 5)

Bismarck (2011, p. 19) point that “[p]erhaps more than any other profession in the field of art, curatorial praxis is defined by its production of connections." The curator must work as go-between for the presenting institution and the artist, so keeping in mind a larger picture ensures careful attention to the artist’s interests while respecting the mandate, needs, and priorities of the gallery (Love, n.d.).

"Curators make it their task to be well informed about creative practice, by looking at what is being produced and exhibited by artists and curators, and by reading exhibition catalogues, books and local/national/international periodicals, thereby adding continuously to the mental archive and material accumulation of information on art and life" (Love, n.d., p. 5)

As a starting point to a deeper discussion on how the figure of design curator could be inserted into the creative market, we did two short case studies. Behance Curated Galleries and Design Export (Brazil) worked as a benchmark for a proposed curatorial model for design to presented at the final part of this paper.

BEHANCE CURATED GALLERIES INITIATIVE

Adobe's social platform – Behance – came up with an initiative to select and showcase quality work in many areas, including Designs based on internal criteria other than just popularity and social ranking in the platform.

All featured projects on Behance.net and the Served sites are hand-picked by our curatorial team, based on a number of criteria and data from the network. We have a dedicated group of people who review every project published on the network every day to find the most innovative projects that creatives like you have to offer. (Behance Helpcenter, 2015)

The galleries are updated by the Behance every day in an attempt to select the best work available to be noticed by its community and serve as a quality benchmark for the industry.

"With thousands of incredible creative works uploaded daily by our community of millions, we help visitors discover some of the most exciting and innovative work by offering great filtering tools (by tool, location, even color!) as well as offering a hand- picked, curated gallery of work uploaded daily — our featured galleries — both on the main Behance gallery and within the industry-specific Served Sites. (Behance Blog, 2015)

A real contribution to Design made by Behance's selection of works is due to the spotlight of good projects. By doing that, the site helps to improve the quality of the Design projects, since it is a matter of quality – through the company's lens – that matter to be selected. Proof of that is Behance's initiative to make clear to users the criteria they use to select projects. The company posted an article at its Medium Blog called "Behance Curation: Philosophy and Approach" (Behance Blog, 2015) and also made available the free online course at Skillshare "Get Discovered With a Knockout Portfolio" (Sarah Rapp, n.d.). Both examples are good for making Designers more critical about how to present their work, but contribute very little to the process of design, once again positioning it as a more aesthetic than a strategic tool. The popularity of Behance has been a useful tool for visual research and even for recruiting talents for projects and openings. Furniss (2015, p. 29) points that "a strong portfolio and life experience are what industry regards as key ingredients in securing a job." Besides all that, the platform fails to provide the needed connection between clients and Designers, for it is a well-known tool within the creative industry only. Although it is a simple visual showcase of projects, it does not provide the client sufficient knowledge about the real depth of a real design work. In this sense, the figure of a specialist/consultant curator might be beneficial

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 116 Curators: what can Design learn from contemporary art? for both sides, being able to provide a better match for the client's needs – whether it is price, creative style, and even positioning wise.

DESIGN EXPORT INITIATIVE (BRAZIL)

In Brazil, in 2013, it was created a project – in an attempt to help companies improve their products and services and became more competitive over the borders – by inserting Design in their processes. Called Design Export, it acts as a consulting and training program to introduce Design and innovation as a part of the business culture. Its dynamics operates much as a curatorial process, matching clients and their demands with Design Studios, "the Design Export proposition is to help the industries identify innovation opportunities inside their business and find Design Studios that fit into the needed profile, facilitating innovative solutions to be born" (Design Export, n.d.-a). For the course of two years, Design Export enabled innovation to take place in 60 cities of 7 different Brazilian States, helping develop 100 projects aiming internalization. Promoted by the Agência Brasileira de Promoção de Exportações e Investimentos (Apex-Brasil) in partnership with Centro Brasil Design (CBD), Design Export is a pioneer project that helps Brazilian businesses become more innovative. (Design Export, n.d.-b).

The program helps to fill the presented gap between the offer of Design services and the demand for it, being the bridge that connects the right spots, aiming for better results for both parts. Business owners get consulting sessions, training, technical and financial support to identify opportunities for innovation and the best professional fit for their need through a Design studio database. (Design Export, n.d.-b).

The Design studios interested in participating in the program need to register through a particular binding notice, having to prove technical capability in the intended areas of support. According to the program regulation (Design Export, 2014), the requirements are:

● Proof of association to a Design class entity (not mandatory); ● Team profile with at least one Designer; ● Technical certification: at least three for each expected area, provided by clients selected by the Design studio. ● Portfolio attesting: ○ Professional qualifications; ○ Multinational clients for the last five years; ○ Time and experience; and ○ National and international Design awards (not mandatory). Figure 1 shows the "Registration workflow for the Design studios" interested in providing Design services through the Design Export program.

Source: Adapted by the author (Design Export, 2014) Figure 1: Design studio registration flowchart

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 117 Hugo Reis Rocha

Businesses (clients) interested in hiring the registered studios get indications by the consultants to identify the right studios for their needs. All the hiring paperwork is handled by the program which mediates the whole process. Besides acting as a bridge, the Design Export specialists "follow every step of the development of a new product or packaging, paying close attention to the Design management, as well as trying to mitigate the risks of failure of the innovative product in the market." (Design Export, n.d.-b) The program is a very innovative initiative which helps clients with none, or shallow capability, to purchase specialized services such as Design, with a more conscious decision – and on the other hand – helps Design studios close new deals, a task that is also not very easy to be done. Just as pointed about the Behance platform, Design Export also has its weaknesses and needed improvements. On this particular matter, two individual points need to be tackled: (a) better verification of the data sent from the Design studios; (b) regular data update. In a truly efficient curation process, the curator needs to understand who is providing the service fully. In loco visits and a longer and improved registration process are key ingredients to learn about the Design Studios and provide the adequate match for every project and client. This in-depth analysis is not a part of the Design Export program, which is based only on required documents sent by the studio. The second point reinforces the quality of the provider's database. The Design sector is very dynamic and tends to respond very quickly to emerging demands and methods, which take studios to change their positioning and actuation over time. Furniss (2017, pp.17) states as a real asset "the Design sector's ability to move and change at a fast rate is attractive to industries that struggle to do so but see it as a necessity." With that said, knowing the current status of each supplier is key to a good curatorial process but is lacking in the Design Export.

THE (POTENTIAL) ROLE OF CURATORS IN DESIGN

Even though Art and Design are different from one another, they have a common characteristic, which is important to be taken into consideration and might justify the inclusion of the curator/specialist into the Design circle. Being quality hard to determine by consumers, the price can be interpreted as indicative of quality. In the art business, galleries fear that a price reduction may pass as an artist's career in decline (Prendergast, 2014). In the Design sector, clients also seem to understand high prices as an indicator of high- quality work usually. A design curator, in a sense, could have an approach similar to an art curator. Much like in art, a design curator needs to keep well informed about the creative industry, being aware of new practices in an endeavor to have always the appropriate match for each project. Also, a design curator is the bridge, needing, also, to look after both parties interest to achieve a win-win situation. Also – like in most small creative business – design studios tend to face, as point by Caves (2014), art for the art's sake and focus on the product than the value captured (Pestrak, 2007). In that case, having the figure of a curator helps to connect the demand with the offer, letting the Design studio focus on the product/project. Different from the art business, Design has a big impact on the business strategy. Design, in many cases, might be considered co-responsible for the success of a product or service, working with strategic decisions for the client's business. This particular approach plays a big part on differentiating the curatorial process from art galleries and talent agencies. In Design, the curator role must go beyond creating a database and must have a profound understanding of each Design Studio, as well as keeping a close relationship with them to assure that every information is updated and accurate. Only then, it might be possible to achieve the level of adequacy that each match requires. Figure 2 exemplifies a possible model and workflow to make a Design curator business work in the market.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 118 Curators: what can Design learn from contemporary art?

Figure 2: Design curatorial model workflow proposition draft Introducing a curator to Design business might create an entirely new market and add value to the creative sector, as well as a result in a higher level of customer satisfaction and better project outcomes due to the better fits and adequacy. We believe that a curatorial model in Design might be viable, for all that has been discussed, if implemented by specialized agencies, class associations and by government programs.

FINAL CONSIDERATIONS

Being Design a complex, specialized, and intangible service, communication with clients is difficult, and it contributes to a lack of perceived value. As most of the creative business, it also faces many challenges and barriers to growth. But, as always, barriers also present themselves as business opportunities. Contemporary art sector has its characteristics, but we believe – as pointed – that Design can learn from it, especially with the implementation of an in-between figure like a curator. After analyzing common characteristics with the contemporary art market dynamics, Behance Curated Sites, and the Design Export program in Brazil, it was possible to draft a model that could fit the Design market dynamic, in a hope to generate a broader discussion on how the design business could benefit from a different type of commercial dynamic. The downside to the whole idea behind a curatorial approach is a human aspect. This kind of representation based business relies heavily on professional ethics. Kapaz (2004) points that it is the ethical posture that builds respect. Respect between professionals as well as between designer and client. In this particular case, the curator needs to be as impartial as possible to be able to achieve the results that are beneficial to every part involved in the process. The present paper does not intend to propose a comprehensive business proposition but rather be a starting point to a discussion on ways to fortify Design as an essential part of the economic activity, enabling it to be better integrated with other businesses and becoming the strategic tool it was meant to be.

REFERENCES Behance Blog. (2015). Behance Curation: Philosophy and Approach – Behance Blog – Medium. Retrieved July 6, 2017, from https://medium.com/behance-blog/behance-curation-philosophy-and-approach-6e0ae9ab350f Behance Helpcenter. (2015). How are "Featured" Projects Selected? – Behance Helpcenter. Retrieved July 6, 2017, from https://help.behance.net/hc/en-us/articles/204483974-How-are-Featured-Projects-Selected- Bismarck, B. Von. (2011). Curatorial Crtically - On the role of freelance curators in the field of contemporary art. Curating Critique, (09/11), 94. Caves, R. E., The, S., Perspectives, E., & Spring, N. (2014). American Economic Association Contracts between Art and Commerce, 17(2), 73–84. Design Export. (n.d.-a). Design Export | Inovação e Design para Exportação. Retrieved January 20, 2017, from https://www.designexport.org.br/ Design Export. (n.d.-b). Sobre o Design Export. Retrieved January 20, 2017, from Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 119 Hugo Reis Rocha

https://www.designexport.org.br/designexport/ Design Export. (2014). Regulamento para cadastro dos escritórios de design. Curitiba. Furniss, L. (2015). Beyond Discipline: Design Practice and Design Education in the 21st Century. Retrieved from http://chead.ac.uk/wp-content/uploads/2015/11/BeyondDiscipline_web1.pdf Kapaz, R. (2004). Ética e Design. In O valor do design. Senac. Love, K. (n.d.). Curatorial Toolkit: A pratical guide for curators. Vancouver: 2010 legacies now. Pestrak, G. (2007). Managing the growth challenge in creative business. In Read this first: Growth and developmente of Creative SMEs. Utrecht. Prendergast, C. (2014). The Market for Contemporary Art, (November). Sarah Rapp. (n.d.). Get Discovered With a Knockout Portfolio. Retrieved January 20, 2017, from https://www.skillshare.com/classes/Get-Discovered-With-a-Knockout-Portfolio/1306897135/classroom/discussions Zeithaml, V., & Bitner, M. J. (2003). Services Marketing: Integrating customer focus across the firm. New Delhi: McGraw-Hill.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 120 Co-designing the Future: How Designers and Research Labs play an important role to Social Engagement and Sustainability

Ana Sambadea and Ana Margarida Ferreira b,c

a Universidade Europeia, Laureate Universities, Lisbon, Portugal [email protected]

b Universidade Europeia, Laureate Universities, Lisbon, Portugal c UNIDCOM/IADE [email protected]

ABSTRACT

The following paper discusses the need for a new approach regarding the problems faced by our contemporary society in which design and designers can play a bigger role. A concerned position about the future of design innovation and education in universities should be taken in consideration in order to achieve a more sustainable world, in terms of economic, environmental and social matters. With the example of the work done by the research lab ID:Co.Lab, the paper aims to evince the importance of having more research in this field and how the cooperation and engagement with the community can help in the process.

Keywords: Co-Design, Change-Agents, Design Education, Social Responsibility, Sustainability.

INTRODUCTION

There’s no doubt in pointing out the extremely deep crisis that the 21st century is currently facing in terms of social, environmental and economic terms (Fuad-Luke, 2009; Bhamra and Lofthouse, 2007) being safe to say that the world is leading into a negative direction while trying to stay afloat (Ferreira, 2003). The exhaustible use of resources and unawareness of it lead to problems that once before seemed to have no future impact, but now, are being the epicentre of challenges faced by the contemporary society (Stebbing, 2015) generating an unsustainable future that’s evolving rapidly (Tonkinwise, 2015). This crisis calls for a holistically approach through radical and innovative ways, since the change needed takes time that we don’t have and is not something that happens at the drop of the hat, demanding transformations in almost everything we do and use in our daily lives (Tonkinwise, 2015). In a more positive view, it is possible to say that the initial process of this has already began a while ago and that the concern is not a novelty, although, only in the past 20 years having become a major focus not only for designers but for other conscious people (Stebbing, 2015). With Papanek’s Design for the Real World and the First Things First manifesto being two important moments for the emergence of social change (Ҫetin and Aryana, 2015) and design and designers, being indicated as the “main” reason for the world’s unsustainability (Papanek, 1985), they can be a part of the solution, having an important role in changing this paradigm into a preferred one (Margolin, 2014; Friedman, 2003). Amidst the awareness of urgency for contemporary solutions regarding our future, the current research and actions are still not enough. Not that they haven’t been significant, but it’s an on-going process and the real shift from design to sustainable design is yet to occur (Stebbing, 2015). This new envisioned paradigm

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 121 Ana Sambade and Ana Margarida Ferreira aims to move towards a human-centred approach, rather than the current consumerist and wasteful, that seems to be impregnated in society and in the designers working system (Tonkinwise, 2015; Manzini, 2015). This transition is inevitably perceived and should be advocated by researchers and professionals from different fields of knowledge (Manzini, 2015) to trigger social responsibility in the professional commonwealth, embrac- ing ethical and humanitarian values, but also in society, in order to catalyze the intention to transit and be open to change, making our generation’s ultimate goal to promote a sustainable development state (Bhamra & Lofthouse, 2007).

”While morals and values cannot be taught, a sense of responsibility can. A senses of responsibility geared towards using our skill sets and talents towards a betterment of a society.” (Montingoa, 2015, p. 307). Unarguably, design is everywhere. In everything we see and do, intentionally or not, we have shaped the world through design to fulfil our needs and wishes, giving designers and others working in the development of products and services a power that they might be unaware of most times (Tischner, 2015; Ҫetin and Aryana, 2015). But now, different actions and an improved agenda are needed, for the practices of the past seem to no longer fulfil the needs of the current circumstances (Stebbing, 2015) nor the professionals seem to be prepared for this, lacking knowledge and tools to have an active and positive impact in this transition and face the different layers of our current situation (Margolin, 2014). This revolution in design thinking places designers in a different position from what they are used. More than carrying about the aesthetics, the aim is to take in consideration the real needs and what viable solutions for humans and environment, as a whole system – in which designers belong to – need to be taken (Stebbing, 2015; Tischner, 2015). This change of mindset has the possibility to be a catalyser, giving designers a role that can be pointed out as activist, transforming them into change-agents (Sanders, 2015).

“Sustainable design is still often treated as an additional option to the design curriculum; while its deeper significance has still to be recognized.” (Stebbing, 2015, p. 22). Regarding design education, sustainable design was never in the top of the curriculum. It has always been framed as an isolated component, something optional that could be chosen – or not – to integrate in the design idealization and creation. Adding to this, there was also a misconception that when approaching that path other parts would be jeopardized, compromising the final result. But how could this be a simple choice of options? If we’re looking to improve our future, every discipline, initiatives and workforce should be aiming for Sustainability (Tonkinwise, 2015; Stebbing, 2015). Fortunately this view is also changing and many Universities are already reviewing their educational programs, in order to change or improve their curriculum to fulfil the purpose of instructing future designers in a different and hopefully, better way. The idea of a next-generation designers is not something entirely new, since there are already professionals shifting in this direction (Mot- ingoa, 2014) but the preposition here is to avoid upcoming ones from having to possibly face a transitory stage, when they could be given from the beginning of their studies the skills and tools to actively pursue the type of path they want to take as designers (Sanders, 2015). Students have always worked on hypothetical scenarios, generating things that we don’t really need and trying to understand and solve problems whose circumstances they don’t fully understand. Instead, their efforts could be redirected towards what’s happening right now, in a reality that’s tangible to them (Manzini, 2011) and as future design professionals, to envision the future and create solutions for the upcoming problems (Margolin, 2014). With this shift, their role also changes, as they need to act as facilitators. Furthermore, the work of a Portuguese research group whose activities relate to the premises assumed before is going to be presented in an attempt to understand what has been done and give some preliminary action plan for their future in research and education of design.

ID:Co.Lab – Collaborative Research for Design and Sustainable Innovation

ID:Co.Lab is one of the 4 I&D research groups of UNIDCOM/IADE – Design and Communication Research Unit. This unit develops applied research in Design and Sustainable Innovation through collaborative and user- centred approaches focusing on the unique features of historical and cultural Portuguese heritage. Acting on the social arena, mainly in cultural and creative industries, the investigators aim to link research, creativity, innovation and other activities of production management, social entrepreneurship and change, in order to contribute to knowledge and sustained growth.

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“Figure 1” - ID:Co.Lab scientific framework, key concepts and facilities.

Within this concept and taking culture and social responsibility as a transversal subject, their R&D projects focus on three complementary courses of action: Innovation and Design for Economic, Environmental and Social Sustainability.

At the present, we can underline 6 main assumptions in its activities: § Design as a creative, participatory and innovative discipline that’s responsible for creating our artificial reality with a profound impact on the quality of the life of our society; § Innovation as a systemic activity with collaborative innovation being the most effective way to generate sustainable solutions to local and global problems; § Users, local communities and entrepreneurs – stakeholders – have critical experience, insights and knowledge for driving innovation and addressing real-world needs; § Only systemic collaboration1 has the potential to create products, environments and services as innovative artefacts – material and symbolic - that enrich human rich; § Creativity and individual human potential to generate artefacts, applied to collective dynamics, en- dows social and economic value which renews and innovates human life; § Creative Industries, operating in the convergence between art, technology and business, are important to cultural dynamic, social values transformation, knowledge society’s emergence and transition of materialist to post material values.

For the future, their goals are focused on: § Reinforcing the development of applied research projects with bachelor, master and doctoral students, within a new research paradigm, with corporate funding and considering the regional and national innovation strategies for the period of 2014-2020; § To enhance scientific outputs and dissemination in national and international arenas; § To increase the collaborative processes of knowledge transfer, promoting the link between research, creativity, innovation and management activities to boost economy in an international framework; § To foster social entrepreneurship, social actor’s networks and clustering, being an active agent for social change in cultural and creative industries; § To contribute to emergence and sustained growth of the knowledge economy, based on culture and value our historical and cultural heritage with unique characteristics; § To gather scientific and technological activities, innovative production systems, creative industries, knowledge production and human skills.

1 Involving several agents at various social scales.

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From the diversified list of projects developed in their curriculum, 3 case studies were taken in consideration as examples of their collaborative and social approach.

L3 – Lisbon community-based Learning Laboratory

“Figure 2” - Visual Identity of L3 Project created by IADE student, Levi Olivares from Design and Visual Culture Master, under Fernando Oliveira supervision. Bringing together both academic and civil society, crossing the scientific and secular knowledge, L3 – Lisbon community-based Learning Laboratory aims to promote new forms of knowledge in the context of contemporary history. With a multidisciplinary consortium of 3 Universities coordinated by IADE, the collaboration with IST-IN+ and FSCH-IHC ensured a comprehensive and diverse range of action, with an emphasis in the areas of design, engineering and social sciences and humanities, at the level of initial higher education and postgraduate. The skills covered went from product, interior and communication design areas, to sustainable development and urban metabolism, science, technology and education policies, as well as the study of contemporary history. Research centres were also included, combining the presence in terms of scientific production, participation in advanced training and promoting active collaboration in social and cultural activities, including designs for sustainable innovation and social entrepreneurship.

“Figure 3”- IADE, IST and FSCH students doing ethnographic research and exploring co-design processes to solve real problems, under Armando Vilas Boas, Nuno Vidigal, Fernando Martins, Fernando Oliveira, João Bernarda supervisions.

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Therewith, L3 promotes a collaborative approach and inclusion of higher education students in vulnerable communities, calling them to carry out projects with each other and with people from different backgrounds, fostering their interaction and forms of mutual learning, while solving real problems previously identified in Lisbon. In this laboratory, the city, more than a pedagogical resource, is an educational agent, and partner in collaborative processes of learning having allowed students to develop competence and self-confidence skills to design and use data acquisition, processing and visualization tools, including emerging communication systems that help mitigate energy, environment and social urban problems. Emphasis on creative processes based on scientific knowledge to address real socio-cultural needs and with positive impact.

“Figure 4”- Fostering social interactions and new forms of mutual learning in culturally diverse and vulnerable communities, coordinated by Ana Margarida Ferreira.

Fios de Lã [wool strings] Project – Natural Fibres, Innovation and Sustainability

This I&D project resulted from a cooperation protocol among different entities from Mértola2 and IADE Uni- versity, with the aim of promoting sustainable development and social entrepreneurism in that Portuguese region, through its culture, identity and local resources. Its goal is to invite new creatives to steam social-territorial development with the revitalization of the existent traditional technologies and to create products that outline Mértola, revitalizing the region and its economical potential while preserving the cultural heritage of natural fibre.

“Figure 5”- The sense of Mértola’s place.

To achieve this, new products/prototypes were designed through a co-creative process and with a sustainable approach, using wool as a source material and reusing the traditional blankets from that zone, materializing not only the culture of the place but also its memory.

2 Village in the south of Portugal.

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“Figure 6” - The main stakeholders of Mértola. Ethnographic research and co-design actors.

“Figure 7” - Co-designed new products by Ana Maria Pinho and Mariana Ventura, students from IADE BA Design Course, coordinated by Ana Margarida Ferreira.

Figueira Memory Project

It comes within the project Portuguese Agriculture, which was the central theme for the participation of the Schist Villages3, representing Portugal as a guest country at EUNIQUE 2015 International Fair for Applied Arts and Design in Germany. With 9 Portuguese universities involved, 22 craft studios and a design team, around 150 people were invited to “immerse themselves in the life of the villages, drawing inspiration from the context of those places and their communities, landscapes and culture, and using them conceptually to create significant objects of memory and identity of the Portuguese culture and spirit, and the values of the territory.” (Portuguese Agriculture, n.d.).

“Figure 8” - Moodboard expressing the sense of Figueira's place.

With the purpose of creating innovative products that promote sustainable development and social entrepreneurism, ID:Co.Lab developed Figueira Memory, a multifunction sustainable backpack that was based on the Figueiras’ Schist Village culture and memory, taking in consideration its endogenous resources of material nature and whiling to promote an emotional and sensorial relationship between the tourists and the village

3 A sustainable development Portuguese project.

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(Fortalezas, 2016). With the creation of this product, there was collaboration among design scholars and the community, promoting not only social but also personal and political well-being, stimulating local culture, economy and improving the communities’ life.

“Figure 9” - Mapping innovation landscapes from Figueira's endogenous resources. Exploration by João Correia and Giuseppe Sardone, students of BA Design Course, under Ana Margarida Ferreira supervision.

“Figure 10”- Innovation design strategy supported in a cultural timeline to a more sustainable behaviour, coordinated by Ana Margarida Ferreira

“Figure 11”- Co-design, innovative artefacts based on cultural practices and the emotional dimension of material culture.

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CONCLUSION

“We all create and design and to be able to design our better future we should converse our mindsets and raise the awareness on existing issues, for this interdisciplinary, collaboration, social innovation and participatory action is indispensable part of our sustainable future.” (Korčulanin, 2016, p. 8) We can affirm the importance of this type of on-going work done by ID:Co.Lab, as just one example of this new and emergent understanding and resulting methodologies supported by design-driven and human- centered approaches clearly showing how designers and Applied Research Labs, could be a notable factor of differentiation and social innovation due to its focus on social matters, collaborative learning and sustainable development. In comparison to other case studies, the ones performed by the Lab stand out due to the strong connection and sense of community, where every actor and its knowledge is respected and valued as an important part of the solution and where a voice is given to people who are often forgotten by the system, who belong and should not be forgotten, for their needs and problems, should be ours. With the 3 examples studied, it was possible in a broader way, to connect with these different participants, allowing the researchers to reconnect and revive items and practices from cultural Portuguese heritage, to stimulate culture but also economy with the creation of new products, to promote general well-being in social and cultural terms, to provide further information and material for research for future practices focused on the Portuguese reality, but on top of all of these important factors, to show students – who always collaborate with projects from ID:Co.Lab – how they can have an active and positive role in our society, not only personally but also as future professionals, acting upon real problems and directly with all the different agents involved. Some of the positive outcomes analyzed after the projects realization where in one hand, the appreciation felt by the communities whose works where set, while feeling noticed and relevant but also, that they could contribute with their knowledge and experience, which clearly helps to produce better results when the users are conceived in the plans. On the other, the students reactions and enthusiasm with working in real scenarios that could be intervened by them, the direct contact with people from different backgrounds and the learning that came from the experience, which allowed them to gain new competences regarding their studies, and in a personal way, that ended up by opening their mind to the city and the people they are surrounded by, creating a sense of responsibility in them. While being in evolution resulting from a constant critical thinking, in the future ID:Co.Lab aims to diffuse the results from their multi and disciplinary research and multiple scientific activities and implement some of its solutions for the upcoming societal problems, but still respecting and working with people as part of the design process to achieve these solutions and to keep evidencing the designer’s role and the collaboration with Research Labs in the sphere of education as the way to go in terms of evolution into a brighter future. It’s also relevant noting the recognition their work is starting to get internationally, having been referenced in a scientific publication about Applied Anthropology in Europe (Podjed et al, 2016) as an example of good practice regarding applied research, collaborative design processes and user-centered innovations, and also having been recently distinguished with the 2017 Here for Good Award Honoree, from Laureate Interna- tional Universities (Laureate, 2017) o “recognize exceptional examples throughout Laureate network of the Here for Good Spirit in action, celebrating those connected to the organization, whether student, graduate, faculty or staff, who are committed to creating positive social impact in their community and world.”

REFERENCES

Bhamra, T. & Lofthouse, V. (2007). Design for Sustainability: A Practical Approach. Hampshire and Burlington: Gower. Fortalezas, T. (2016). Aldeias do xisto: proposta para o desenvolvimento de uma organização sustentável na Beira Interior. IADE, Lisbon, Portugal. Ferreira, A. M. (2003). “Design e Inovação: Valores para o Século XXI”, Idade da Imagem, Revista de Arte, Ciência e Cultura do IADE, Ano III, 8, Maio/Agosto, pp. 52-56. Lisboa: CEIADE. Friedman, Ken. (2003). Theory Construction in Design Research Criteria. Design Studies. 24. 507-522. 10.1016/S0142- 694X(03)00039-5. Fuad-Luke, A. (2009). Design Activism: Beautiful Strangeness for a Sustainable World. London, Sterling Earthscan. Korčulanin, L., Ferreira, A.M. & Muršič, R. (2016), Design and anthropology in collaboration: The Give a Shit Project. In Design Doctoral Conference’16. Portugal: IADE. Manzini, E. (2011). Design Schools as Agents of (Sustainable): Design Labs for an Open Design Program. In proceedings The Tao of Sustainability. An International Conference on Sustainable Design Strategies in a Globalization Context. Beijing:

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AUT University, pp. 356-360. Retrieved from: http://sigeneration.ca/documents/Designschoolsasagentsofsustainablechange.pdf [Accessed 27 July 2017]. Manzini, E. (2015). Design in the transition phase: a new design culture for the emerging design. In Design Philosophy Paper. pp. 57-62, doi: 10.1080/14487136.2015.108568. Margolin, V. (2014). I. Design e Risco de Mudança. Caldas da Rainha: ESAD. Motingoa, V. (2014). Socially Responsible Next-gen Designers. In Design with the Other 90%: Changing the World by De- sign. University of Johannesburg, South Africa. Papanek, V. (1985). Design for the Real World: Human Ecology and Social Change (2nd Edition). Thames and Hudson: Lon- don. Podjed, D.; Gorup, M. and Alenka, A.B. (2016) Applied Anthropology in Europe: Historical Obstacles, Current Situation, Future Challenges, Journal for Applied Anthropology in Policy and Practice, V. 24 / 2017, Jun, pp.53-63. Portuguese Agriculture. (n.d.). Retrieved from http://www.agriculturalusitana.com/en/. [Accessed 24 August 2017]. Sanders, E. (2015). Is Sustainable Innovation an Oxymoron? In Changing Paradigms: Designing for a Sustainable Future. Mumbai: Vedanta Arts, pp. 296-301. Stebbing, P. (2015). The Paradigm shift in design. In Changing Paradigms: Designing for a Sustainable Future. Mumbai: Vedanta Arts, pp. 22-35. Tischner, U. (2015). Design for Sustainability, Strategies, Methods and Tools. In In Changing Paradigms: Designing for a Sustainable Future. Mumbai: Vedanta Arts, pp. 302-317. Tonkinwise, C. (2015). Radical Sustainable Innovation. In Changing Paradigms: Designing for a Sustainable Future. Mumbai: Vedanta Arts, pp. 284-296. Çetin, Ö & Aryana, B. (2015). An Analysis of the Influence of Design Activism and Socially responsible design approaches on design education. In 11th European Academy of Design Conference “The Value of Design Research”. Paris Descartes University: Institute of Psychology, Boulogne-Billancourt, France.

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Becoming Citizens: Systems Thinking in the Design Education

Massimo Santanicchia a

a Iceland Academy of the Arts Reykjavik, Iceland [email protected]

ABSTRACT This paper reflects on the benefits of introducing systems thinking at the core of design education and to build bridges between scholars and their community. The paper builds on the experience developed during the design course Together-Repair that has been running at the Iceland Academy of the Arts (IAA), in Reykjavik since 2014. Two important paradigms emerge from the course: engaged scholarship and place-based education. En- gaged scholarship means connecting academic knowledge and the real issues present in our community— opening the doors of the school to the public, especially those most in need, and at the same time learning from them. Place-based education is about understanding the context, the environment, cities, and societies— rediscovering ancient traditions, walking a thousand times in our streets, experiencing the space and society that we inhabit. Design beyond borders means understanding that no one owns a problem and if we want to resolve important issues in our society we will need to learn to do it together.

Keywords: systems thinking, design, engaged scholarship, place-based education, adaptability.

SYSTEMS THINKING Systems thinking is a critical tool to address complex challenges. It helps us manage, adapt and see the connections between our choices and their impact (Meadows, 2008) (Ackoff, 2010) (Senge, 2006). An article published on the May 15, 2017 in the British newspaper The Guardian states: “38 million pieces of plastic waste found on uninhabited South Pacific island. Henderson Island, part of the Pitcairn group, is covered by 18 tons of plastic—the highest density of anthropogenic debris recorded anywhere in the world” (Hunt, 2017). This fact captures the devastating effect that human behaviour has on our planet. Considering that the outcomes of our choices, lifestyles, and design solutions—in this specific case plastic products—can reach one of the world’s most remote places, it means that literally the entire world is impacted by our decisions. The sheer scale of this impact is unfathomable: 17.6 tons of plastic on Henderson Island accounts for only 1.98 seconds’ worth of annual production and use. Millions of tons of plastic end up in the ocean every year (Hunt, 2017). The plastic found on Henderson Island comes from everywhere: Canada, Germany, New Zealand. This fact indicates clearly that we are all connected and all responsible; it is truly a common tragedy that can be solved only if we understand that we are part of the same system and therefore must work collaboratively. The plastic crisis is part of a long list of on-going catastrophic human actions: from climate change, to increasing social inequalities, from refugee crisis, to fast urbanization. New Zealand author, educator, and architect Elizabeth Farrelly states: “it is a crisis of significance, where we must grasp the essential connectedness of everything, and re-invest in our source of meaning, or die” (Farrelly, 2008: 11). Canadian activist and writer Naomi Klein, author of the best-selling book This changes everything, urges the world to make the shift from hyper- individualism to interdependence, from dominance to reciprocity, from hierarchy to cooperation, in short a complete reconsideration of the way we relate not only to nature but to each other. To make this shift we need empathy and “we need to rebuild and reinvent the very idea of the collective, the communal, and the

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civic after so many decades of attack and neglect” (Klein, 2014: 460). Systems thinking, as it is defined by the American system scientist Peter M. Senge in the book The fifth discipline, is a way to see ourselves connected to the world: “it is a framework for seeing interrelationships rather than things, for seeing patterns of change rather than static snapshots” (2006: 68). The connectedness of the world allows us to see all the people not only as responsible for problems but also as “participants in shaping their reality” (2006: 69), and I add, indeed their future. Peter Senge also states that: “As people see more of the system within which they operate, and as they understand more clearly the pressures influencing one another, they naturally develop more compassion and empathy” (2006: 161). Thinking in systems therefore brings us closer together, not only to see the world and its components, but, to feel that we are part of it; we are part of the same system, we are together. The word design comes from Latin: de-signare, which means: to mark, to make a sign, to make a difference, to contribute, to choose. Making something, distinguishing it by a sign, giving it significance, designating its relation to other things, owners, users etc. The act of choosing is therefore embedded in the word of design (Verganti, 2009). Italian professor Ezio Manzini and author of the book Design, when everybody designs: an introduction to design for social innovation, states that, the human capability to design, (and to organise) does not belong only to design experts but it is a human quality that belongs to each of us. So, the more people use design capability to connect to a plethora of issues and to multiple crisis present in our society, the more opportunities there are for design experts to help design these processes. To do so, designers need to develop appropriate skills: collaboration is one of them (Manzini, 2015). The design course Together-Repair—that has been taught at the Iceland Academy of the Arts (IAA) since 2014—is our contribution to address the immense crisis that is sweeping our planet. It is our contribution as educators and students to develop “engaged scholarship” to seek, see, and understand the connectedness of everything, the systems that link us all, and the great responsibilities that are connected to our decisions. We believe that no one owns a problem and each problem is universal and therefore the solution must be found in our collective work, in transdisciplinary approach, in changing behaviour, in a revaluation of our praxis and modes (Ackoff, 2010). This requires the deployment of components based on adaptability, collaboration, and empathy. Alastair Faud-Luke author of Design activism, beautiful strangeness for a sustainable world defines a “designer activist as a person that uses the power of design for the greater good of humankind and nature. A person who is a free agent; a non-aligned social broker and catalyst; a facilitator; an author; a creator; a co- author; a co-creator; and a happener (someone who makes things happen)” (2009: 11). I believe designers need to be activists. They need to cross the physical and intellectual borders which so many times have been constructed in the name of efficiency and clarity, perhaps as a reminiscence of the modernist way of thinking and a time when singular disciplines were studied in depth but not in relational to others (Farrelly, 2008: 39). This created a rigid static and over simplistic taxonomic structure of the world. Sys- tems thinking helps people to see the multiple connections which link us all, it helps us ask “what-if” questions about possible future behaviours, to understand the impact that our decisions have on us, and on our planet, and to be courageous about system redesign (Meadows, 2008).

ENGAGED SCHOLARSHIP and PLACE BASED EDUCATION Ernest Boyer, President of The Carnegie Foundation in his influential report: Scholarship Reconsidered, talks about the importance of engaged scholarship: “what we are faced with, today, is the need to clarify campus missions and relate the work of the academy more directly to the realities of contemporary life” (Boyer, 1990: 65). The scholarship of engagement is a cornerstone for the course Together-Repair. It is about creating a dialogue between the academic and civic culture, it is about revealing, and working with, real conditions that are present in the Icelandic community. Boyer notes that “university civic engagement is about much more than dissemination of research findings to different audiences. Rather, it requires a reformulation of research and teaching activities in ways that can bring different publics into the process of discovering and applying new knowledge” (Hambleton, 2015: 297). Since the start in 2014 Together-Repair has dealt with homelessness, food production, human rights, pedagogy, personal apathy, environmental risks, and mass tourism, to name just a few. The course has shed a light on important issues present in our community and delivered design outcomes out to the public, to the media, and to the streets of Reykjavik. Students have engaged with pedestrians and workers, tourists and medical doctors, teachers and other students elsewhere. This has created collaboration and co-creation of new knowledge. As British academic Robin Hambleton defines it “the engaged university is rooted in the locality and makes a respected contribution as a place-based leader. It puts time and resources into the

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cultivation of a local civic culture that welcomes study, analysis and public learning. It supports research on and for the city, values community development and fosters action-oriented student learning” (2015: 297). All these considerations are the foundation of the paradigm of engaged scholarship, and have been at the roots of the course Together-Repair. Icelandic educator Ásthildur Jónsdóttir has been investigating and writing extensively on the meaning of sustainable education and states that: “The central point for a sustainable education is to become more conscious of places and to extend the notion of pedagogy and accountability to the concept of place. Place is the result of processes and practices. It is constructed by people doing things and in this sense, is never finished, but constantly performed” (2013: 90-105). Jónsdóttir advocates for place-based education wherein teachers and students get a first-hand experience of local life, which gives them the potential for understanding the political process occurring and hopefully to have some influence on them. We need to focus on understanding the local without forgetting the global and how the whole is connected if we want to transform it. Place-based education is related to people, to facts, to real human experiences. Involving the local community in your project has the the potential to promote civic knowledge, responsibility, and participation in individual and collective actions. Design therefore is political, and as such it seeks to reveal issues of public concern (Jónsdóttir, 2013).

TOGETHER REPAIR COURSE STRUCTURE Together-Repair is a full time design studio course that rund for eight weeks: five days a week (Monday to Friday from 13.00 to 17:00). It is difficult to identify the genesis of Together-Repair as it is part of the flow of learning that the MA design students experience during their two-year in the MA Design at the IAA. By the time Together-Repair starts (usually the first Monday of April) the MA Design students have already spent eight months developing their personal interests through individual research and collaborative processes that integrate design workshops and theoretical classes. The goal of the MA Design is to promote knowledge creation, and dialogue on design, through design practice and artistic research (Ísleifsdóttir, 2016). The first three weeks of Together-Repair are characterised by extensive dialogues between the first year MA design students, the supervisor, mentors, and local agents, that is, people in the community which have been selected by the master students to support their project development. Dialogue as it is defined by Peter Senge is: “the capacity of members of a team to suspend assumptions and enter a genuine ‘thinking together’. To the Greeks dia-logos meant a free-flowing of meaning through a group allowing the group to discover insights not attainable individually” (2006: 10). We therefore talk about the world around us, verbalizing what we appreciate and what makes us uncomfortable: racism, sexism, ageism, militarism, xenophobism, homo- phobism, extractivism, neoliberalism—all those ugly isms are discussed. We have a desire to undo injustice, and we reflect about the world by using our local community to then operate as design activists. At the end of the three weeks each MA student (in 2016 they were 5) presents a brief which condenses the essence of their on-going research project. Brief presentation happens anonymously on an on-line platform. Each brief is accompanied by a title and a descriptive evocative image and 500 words text. All BA second year students are then asked to read the on-line briefs and choose the one that they wish to engage with. By the beginning of the fourth week the teams are formed. Students work in transdisciplinary teams which aim at maximising skills diversity by including a mixture of BA students in architecture, visual communication, product design, fashion, local agents, and one MA student in design who assumes the role of facilitator. Mentors and the supervisor assist all the teams. Teams do not have a fixed space within the school to work. Each team has to design its platform of research, either nomadic or static or a mixture of them both. The supervisor and mentors sit in a dedicated lounge space and are available to the students daily between 13:00 and 17:00. Students decide themselves when to seekd dialogue with mentors and the supervisor. During the five weeks of the project development four tasks must be fulfilled. Task A: the design of one A1 portray poster intended as the main identifying visual representation of the project. Task B: the making of a 66 seconds’ video teaser of the project. Task C: the making of an object/event/system that is strongly connected to the project. Task D: a 180 seconds’ video narration of the entire project development and communication of the core message of the project. These four tasks represent conversational design tools to guarantee that all students participate in the course dialogue and to assure that the different projects are presented by using comparative design tools. At the end of the eight weeks the final presentation is staged in the main auditorium of the IAA. During the project’ presentation, a selected panel of social entrepreneurs, civil servants, private developers, designers, philanthropists, academics and business people are invited to assess the work of the students. The entire course is presented online. This allows for an immediate sharing of our process as it happens, and to maintain a link with the many international mentors that support the projects’ development.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 132 Becoming Citizens: Systems Thinking in the Design Education

From 2013 to 2016 ninenteen projects have been developed by 175 students from 22 countries (Austria, China, Ecuador, Finland, France, Germany, Guatemala, England, Iceland, Ireland, Italy, Korea, Lithuania, Mexico, Russia, Scotland, Sweden, Switzerland, Uruguay, Slovenia, the Netherlands, USA) with the help of 45 mentors from 7 different countries (France, Iceland, Ireland, Italy, the Netherlands, the UK, and USA). Two of these projects have received a special prize from the president of the Republic of Iceland. Two have received funds for innovation and development.

SYSTEMS THINKING AND TOGETHERNESS Sir Geoffrey Vickers: “Learning what to want is the most radical, the most painful and the most creative art of life” (1970: 76). In the design course Together-Repair students decide for themselves what they want. German political theorist Hanna Arendt in her seminal book Eichmann in Jerusalem: a report on the banality of evil, warns us on the immense risks that are associated with our incapacity to think, and our inability to confront the consequences of our choices and actions. Since Plato, thinking means “to be engaged in that silent dialogue between me and myself”. When we stop thinking, we are no longer capable of making moral judgements: and it is this phenomenon that Hannah Arendt calls “the banality of evil” (2006). In Together-Repair we want to have the time to think, to understand the world around us, and to be aware of the responsibilities of our choices. Plato, in The Republic, wrote that the aim of education is to provide insights into ways in which the world might best be ordered and to enable students (developing citizens) to see things not only as they are, but to see them as they should and could be. New Zealand architect and educator Tony van Raat writes in the foreword of the book titled 202 for Refugees edited by Polish-French architect and educator Magdalena Garbar- czyk, that: “The role of education should be to help the next generation of citizens to achieve awareness of their social and political responsibilities and to enable them to acquire both the skills and the attitudes to think independently and to make a difference” (Garbarczyk, 2016: 9). We have tried to infuse this ethos in the foundation of the course Together-Repair. We believe that design is about making a change, a difference in our community, and possibly beyond. Design has to have the courage to redesign the system itself when needed (Meadows, 2008). Design is a research process, and as Alastair Faud-Luke states: “It can be used as a tool to rethink everyday life, to transform ideas about industrial production, government, public and private space, pre-established systems and networks, and to generate new forms of activism, political consciousness, and community” (Faud-Luke, 25: 2009). A recent publication, edited by American visual communicator and educator Elizabeth Resnick titled De- veloping Citizen Designers includes a beautiful foreword written by Bernard Canniffe which states: “We have the choice to engage or not. We have the choice to act or walk away. If we do nothing then, sooner or later it will come knocking on our door, in one way or another, whether the knocking is from inside of us or from the outside actions resulting from the societal neglect” (Resnick, 2016: 8). It is time to act, and do it together.

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The emphasis of the course Together-Repair is based on the observation of our complex daily life. We experience the banality of evil present in our society but also, we notice the simplicity of good that so many people exercise daily (Manzini, 2015). Students are asked to reveal contextual understanding of the issues that are dear to them, and to reflect upon them, their origins and causes, to interact with them and to humanise them by showing the ethico-aesthetic side of them, by introducing the element of subjectivity and consequently ma- turing the awareness and sense of responsibility to foster the ability to make the necessary choices (Persov et al, 2017). By doing so, students allow a necessary shift, which is from me to us, from individuality to community-oriented, from owning to sharing, from linear mode of thinking to a systemic one. The American anthropologist, Janice Perlman stated: “We may have come this far through competition and survival of the fittest, but if we are to make the leap to a sustainable world for the centuries ahead, we will need to be intelligent enough to do it through collaboration and inclusion” (Perlman and O’Meara Sheehan, 2007: 190).

FROM SUSTAINABILITY TO ADAPTABILITY To fully grasp the impact of systems thinking and therefore our role as designers (as people who make choices for and with others), a profound mind shift from sustainability to adaptability is required. The root of the world sustainability is “sustain” which implies aiming to create a perfect world of equilibrium, where changes cannot be allowed as they disturb the working order. But nature, like society, operates in systems far from perfect and far from of equilibrium: systems that are in a constant state of adaptation, experiment, and ultimate change. American scholar Jeremy Butman has brilliantly stated in an article published in The New York Times on August 6, 2016: “When we talk about sustainability, then, what is it that we hope to sustain? We certainly do not sustain nature “in itself”. Rather, we sustain a concept of nature as we humans prefer it. More precisely, we preserve the resources needed for human consumption, whether that means energy consumption or aesthetic consumption. In one sense, we preserve nature for industry” (Butman, 2016). This has to change. For Aristotle, the primary principle of nature— “physis”—is change, and what changes can never be perfect; if a perfect form were to change, it would naturally become imperfect (Butman 2016). Sustainability has for long been confined in the area at the interface of three circles: economic, social and environment. This notion has therefore relegated the role of (sustainable) design at the intersections of the three ’s sphere. It is time to change the order of things. To do this, I need to advocate that the three circles cannot be the same. The environment is our planet Earth, it is our ark of life, which contains different societies and within each society we have different economic systems and ways of interaction. Economic, social and environmental systems continuously fluctuate, expand and contract. This understanding steers us away from the notion of sustainability and towards the understanding of multiple systems that are in a continuous state of becoming. We must grasp the essential connectedness of everything, indeed as Elizabeth Farrelly warns us, and to do so we must think in systems and be aware of the subjectivity of our individual perception of reality. “Students’ knowledge creation begins with personal interpretation with new significances following up with their reconstruction through dialogue with ever-changing reality (Moore, 2005)” (Persov et al 2017: 3). Revealing the fluctuating connectedness among facts, events, people, and the environment, is at the base of systems thinking. What we need to master as designers (as people who make choices and offer choices) is not the art of standing still and aiming at the static-confined perfection of sustainability. Designers need to develop the capacity to think independently and to adapt to our brutally imperfect, ever-changing world. Think- ing in systems immensely expands our role. It positions us not inside a box, but as part of a system and as such we have the capability to connect to every possible problem (Manzini, 2015). This task requires serious thinking, collaboration, awareness, social skills, practice, empathy, and courage. Social design, as defined by Eliza- beth Resnick, is “The practice of design where the primary motivation is to promote positive social change within society” (Resnick 2016, 12). To achieve this, we must adapt to change at every step of the way, and become acutely sensitive to the people, places, and nature encountered along the journey.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 134 Becoming Citizens: Systems Thinking in the Design Education

The role of design: from confined within the box of sustainability to an expanded system of adaptability.

Together-Repair therefore, encourages collaboration between academics, social workers, entrepreneurs, activists and other local agents. Together we collaborate, with the aim of using design as an instrument for social change, design as a tool to strive for new significances, design as a tool for the never-ending task of adaptability. Collaboration is a difficult art, based on negotiation skills, empathy, and understanding. As the British architectural firm MUF defines it: “Collaboration is not about different disciplines and personalities climbing into a blender and producing a consensus. Rather, it has to be the deliberate creation of a sufficiently generous atmosphere to make room for different disciplines and personalities... the haphazard search for an alternative to sharing and fighting over the same pencil.” (MUF, 2001: 11). In Together-Repair, we design new ways to engage and collaborate—first within the IAA—master’s students, bachelor’s students, tutors, and at the same time by establishing connections outside the school with local agents. Together we have reflected on the many imperfections present in our society, working to help people to cast a new set of eyes on our own world which is more empathic to people´s needs and wishes, and shifts from egocentric to ecocentric.

THE 2016 PROJECTS Five projects were developed by 64 students from 9 countries with the help of 15 tutors from 5 different countries; together we have worked intensely for eight weeks trying to formulate different research topics. Each project addresses specific needs and each project uses the power of design for the greater good of humankind. All the projects can be viewed online at: http://cargocollective.com/together_lhi. Two projects were stand- outs: Intertwined and 91. Intertwined This project was developed in the context of an aging 21st century world, framed by the welfare system of Nordic societies. The specific case study took place in the city of Reykjavík with the aim of answering the question: Why are elders often separated from their families and grouped in specific health care institutions? The students involved concluded that the elderly are grouped and segregated and so are we! Our educational, working and welfare institutions with their increasingly controlled procedures, create borders that are difficult to traverse for the different generations. These borders are the origin of this particular apartheid. Therefore, rather than focus on a specific group in need, the problem became an intergenerational concern, demanding to be approached from a different perspective. Ageism implies negative psychological, economic, political and even ecologic consequences for all citizens; at individual, familial and societal levels, signifying a bigger threat for future aging generations. Intertwined brings critical attention to the imperfect exclusionary system that often characterises our societies. The growing gap between generations is a structural conflict that shouldn't be addressed as a problem to solve but rather one that transforms into a learning process. Facing this challenge of bringing the dissimilar generations together, students soon recognised that to enact repair, the first step should be reconciliation. Students were compelled to design a tool to transcend social asymmetries as a kick-starter of a bottom-up transformation.

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Samtól (Together-Tool) came to life as an experimental object, as a playful research artefact designed for listening to different voices, for sharing thoughts and common experiences with other generations. The Nordic knitting tradition crafted by sailors have been the inspiration for this simplified system of knitting through making knots which enables everyone to be a part of the game. Samtól has been a passport to start conversa- tions. Dialogues between generations were established, games were played and diverse voices were intertwined together.

91 This project addressed the circumstances of homelessness among women in the city of Reykjavik by showing how vulnerable and marginalised these people are in our society. The local agent of this project is the Wom- en’s Shelter Konukot, which was created in 2004 from a collaboration between the Icelandic Red Cross and Department of Welfare in Reykjavik. The shelter operates on confidential terms between volunteers and homeless women. Konukot reported that 91 women spent the night in the shelter during the year of 2015. The student’s goal was to go beyond the number ’91’ and, as a result, students sought to tackle the issue from different design angles: the Konukot renovation, the flea market revamp, and organizing a photographic exhibition of images taken by homeless women using disposable cameras became the core of the project which cul- minated on the 7th of May 2016 with the reopening of the flea market. This event was a wonderful opportunity to bring people together—the neighbourhood and the people of Reykjavik—to raise awareness of the homeless women by crossing the border of ignorance and avoidance-awkward. Every course conducted at the IAA is subjected to the scrutiny of the students’ on-line evaluation/feedback. 66% of the students who attended Together-Repair provided feedback rating the course higher than the average in terms of satisfaction. Students are almost equally divided on the issue of “transdisciplinary challenge”. Praised by half the respondents as an “eye-opener” and “essential”, and by the other half as dis- comforting. As supervisor of the course, I have received several personal emails from students in which they have described the experience of the course as: “life changing”. One BA student writes: “Together-Repair has been one of those courses that really leaves a print in every student, as we all would be too shy or proud to admit it in public, but rest assured something definitely changed in every one of us after these amazing (and challenging) weeks”. An MA student who continued to work on her project by personally developing it writes: “I am a happier person, a better family member, and friend, and I feel successful in my job”.

CONCLUSIONS “the things that owe their existence exclusively to men nevertheless constantly condition their human makers” (Hanna Arendt 1958: 9). It is fundamental for a scholar to reflect on how his/her research might contribute to the common good. On 22nd of April 2017 people marched for science as a pillar of human freedom and prosperity in more than 600 cities around the world. In a world so incredibly informed but at the same time so eskewed with alternative facts and misinformation, it is vital that the fruits of scientific and social research, and evidence-based knowledge are shared in hope of becoming influential in the construction of our societies. In Together-Repair students have learned to think in systems, to work collaboratively, to think in long-term actions, to consider the consequences of their design choices. Through their engagement with real case studies, students learn to become guardians of our common interests, protectors of our environment, and of our social values. Design- ers are social agents, designers are political, and designers cross boundaries. Designers are citizens. Systems thinking is essential for understanding that we are all connected to each other. Education is about awareness and about cultivating both scientific factual knowledge and empathy—emotional intelligence and social/design skills to face the challenges. Students have an innate ability to connect with each other to create platforms for dialogues. When students feel passionate about their project, disciplinary boundaries simply dissolve. Students need to feel relevant—to feel that their effort is not only an academic exercise but has real impact to change people’s lives. We believe that university is a platform for exploration and its goal should include the ameliora- tion of people´s existence through social engagement.

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ACKNOWLEDGEMENTS Many people must be thanked. I would like to express my gratitude to Lena Nyberg, Hörður Torfason, Ás- thildur Jónsdóttir, Guðbjörg Rannveig Jóhannesdóttir, Elizabeth Resnick, and Elad Persov for their support in writing this paper and their inspiring work. Thank you as well to the other authors of the course Together- Repair: Lóa Auðunsdóttir, Sigrún Birgisdóttir, Thomas Pausz, Jan van Boeckel for their belief in engaged scholarship. A very special thank you to Dóra Ísleifsdóttir, program director of the Master in Design at IAA, for her passion and courage to change our world; and for her helpful feedback with this article. To all the citizens’ students: you are a constant source of energy, passion and hope.

REFERENCES Ackoff, R. L. (2010). Ackoff's best: His classic writings on management. New York: John Wiley. Arendt, H. (2006). Eichmann in Jerusalem: A report on the banality of evil. New York, N.Y., U.S.A: Penguin Books. Arendt, H. (1969). The human condition. Chicago. Ill: University of Chicago Press. Boyer, E. L., Moser, D., Ream, T. C., & Braxton, J. M. (2016). Scholarship reconsidered: Priorities of the professoriate. San Francisco: Jossey-Bass. Butman, J. (2016). “Against Sustainability.” The New York Times. 8th August 2016. http://www.nytimes.com/2016/08/08/opinion/against-sustainability.html?smid=tw-nytopinion&smtyp=cur&_r=1. Farrelly, E. (2008). Blubberland: The danger of happiness. Cambridge: MIT Press. Garbarczyk, M., Van, R. T., & Unitec Institute of Technology (2009- ). (2016). 202 for refugees. Auckland: UNITEC. Fuad-Luke, A. (2009). Design activism: beautiful strangeness for a sustainable world. London: Dunstan House. Hambleton, R., & Corbett, A. (2015). Leading the inclusive city: Place-based innovation for a bounded planet. Bristol, England: Policy Press. Hunt, E. (2017). “38 Million pieces of plastic waste”. The Guardian, 15th May 2017. Retrieved from: https://www.theguardian.com/environment/2017/may/15/38-million-pieces-of-plastic-waste-found- on-uninhabited- south-pacific-island Ísleifsdóttir, H. (2016). MA in Design 2016–2017. In Master Programmes IAA. ed. Ingibjörg Þórisdóttir. Reykjavík: Iceland Academy of the Arts. Jónsdóttir, A., (2013). Art and place-based education for the understanding of sustainability. Education in the North, 20 (special Issue), pp. 90-105 Klein, N. (2014). This changes everything: Capitalism vs. the climate. London: Allen Lane Manzini, E., Coad, R., & MIT Press. (2015). Design, when everybody designs: An introduction to design for social innovation. Cambridge, Mass: MIT Press. Meadows, D. H. (2008). Thinking in Systems. White River Junction, Chelsea Green Publishing. MUF (2001). This is what we do: A Muf manual. London: Ellipsis. Perlman, J. E., & Sheehan, M. O. (January 01, 2007). Fighting Poverty and Environmental Injustice in Cities. State of the World: a Worldwatch Institute Report on Progress Toward a Sustainable Society, 172-190. Persov, E., Roshni Udyavar Yehuda, R., Kantor, R., Pelman, B. (2017). PBL 2.0. Interdisciplinary, Multicultural Transformative Sustainable Education for Design Students. 12th EAD Conference Sapienza University of Rome 12-14 April 2017. Plato. Rowe, C. J. (2012). Republic. London: Penguin. Resnick, E. (2016). Developing Citizen Designers. New York: Bloomsbury Academic. Senge, P.M., (2006). The fifth discipline, the art & practice of the learning organization. New York: Crown Business. Verganti, R. (2014). Design-driven innovation: Changing the rules of competition by radically innovating what things mean. Boston, Mass: Harvard Business Press. Vickers, G. (1972). Freedom in a rocking boat: Changing values in an unstable society. Baltimore: Penguin Books.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 137

Roles of Design in Social Innovation: examples from Portugal

Teresa Sarmento a and Isaac Ortega Alvarado b

a Professor, ESAD College of Art and Design, Matosinhos, Porto, Portugal [email protected]

b Master Degree Student, Anadolu Üniversitesi, Eskişehir, Turkey [email protected]

ABSTRACT

This paper presents a literature review on the topics of Design and Social Innovation, and an exploratory analysis of the characteristics of SI gathered from ten examples in the country of Portugal. The goal of this research is to increase understanding of how to better integrate Design within the processes of this field. Furthermore, the study intends a comprehension about the roles Design plays and could play when solving problems that are not of a tangible or technical nature. Keywords: Design roles, Social Innovation, Social Aspects, Design Practices, Portugal.

INTRODUCTION

The scope of Design as a field of study and practice related to problem-solving tasks seems to be virtually un- limited, and so the roles that are given to designers. The matters it deals with have been broadened over the last decades, evolving from practices that focus completely on technical issues to start dealing with aspects and values that are not tangible (Bonsiepe, 1998). These come as a new paradigm, and entail the conceptual challenge of defining what Design does and the position it takes within complex systems, being the social system the most complex of all, one in which solutions are not easy to track and considered of wicked nature (Rittel & Webber, 1973). The expansion of Design is also pushing designers to approach new arenas, one is these is the field of Social Innovation (SI), which is a flourishing space different from conventional ones1 in which Design already has a powerful, or at least more defined role (Thorpe & Gamman, 2011, p.2018). SI comes as complement to technical or technological innovation (Grimm et al, 2013, p. 437), which for Design might mean a complement of the roles played by designers. Researching the intertwining of SI and Design is a complicated task when the intention is to depart from a formal conceptual frame, as there seems to be a lack of consensus on a definition2. To take a stance about the roles designers can assume as part of SI, first it is necessary to identify the conditions and scopes of both fields, as well as possible contributions from both sides, having in mind that it might ease the proposal of actions that designers could undertake. As a space that offers opportunities for the development of Design practices and knowledge, the characteristics of SI should be recognized by designers, as it would help them to better signal the modes, moments and ways by which actions can be implemented, and to the deliver outcomes accordingly. Design as a practice is bounded by the field in which it is enacted, and just as it has been already recognized in industrial settings that designers play specific roles (Munari, 1983), in SI a set of specific roles can also be defined.

1 These said spaces would be Industrial and commercial setting, in which Design had been providing value over the last two centuries. 2 Although there is lack of definition, one work that includes many of the topics of both fields is the book Design when Everybody Design (Manzini,2015). Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 138

Roles of Design in Social Innovation: examples from Portugal

To better discuss the challenges to the relation of Design and SI, this paper presents a literature review and a discussion of the characteristics found on ten SI enacting examples in the country of Portugal3. The literature review for this research was conducted simultaneously with the field work, with the aim of raising a theory from the ground, with the objective of reducing pre-judgement on what was found in the process of data gathering (Glaser & Strauss, 2009). The findings from these ten examples together with the literature review might serve as departing point for further studies on the relation of both fields.

LITERATURE REVIEW

Four main concepts were considered of interest for this revision: 1) Roles of Design, 2) Social Innovation, 3) Design and Social Aspects, 4) Design Practices. These concepts were selected with the intention of clarifying in which aspects Design and Social Innovation are already involved fields and in which there are still gaps.

Roles of Design Three tensions were extracted from the literature about the roles of Design. The first one is about the orientation Design takes as a professional practice, as it has commonly been related to technological and commercial innovation, with the aim of generating profits and value of market, while some proponents such as Bonsiepe (1998) and Papanek (1985) see Design as having a role more connected to the improvement of conditions for human life. The second tension comes from what Design delivers as its outcomes, common Design efforts result in images or products, which makes it subjected to concepts such as form, function and technology (Gay & Samar, 2004, p.14). Yet, other proponents started recognizing Design as a set of strategic tools (Kotler & Rath, 1984), these tools are what make design “… a process which transforms daily public live and its aspirations” (Julier, 2010, p.246), meaning that the outcomes of Design might not always be of a tangible nature. The last tension is related to the ways in which designers enact Design, which is related to the nature of Design as a professional task, developed by experts in contrasting opposition to Design as a human attitude which could be enacted by anybody. This tension is not newly recognized and has already been discussed since 30 or 40 years ago, as it is patented in the classical definition of Design by Simon (1996, p.111) or on the typology of future roles suggested by Markus in 1972 (Lawson, 2006). But more recently brought on to the discussion by the development of collaborative and participative methods as part of Design practices. Which is better summarized by Manzini (2015) in three roles that spark from Design as a Human attitude that was profession- alized: 1) As Diffuse design: when it is enacted by people with no formal design formation, who move the status of a situation to a desired state by enacting changes that are not in the classical mode of doing. 2) Expert design: when design is enacted by people who had been trained to generate solutions as part of their working practices. 3) Co-design: when Design is a process resulting from the interaction of the different stake-holders, in which professionals take a role as facilitators, but solutions come from the active collaboration of all interested parts. Awareness on these tensions might be beneficial to address the challenges designers confront when entering the field of SI (Chick, 2012). These are part of an ongoing discussion about the scope, outcomes and professional participation of Design practices, which delimitate the roles Design and designers can play from their professional perspective.

Social Innovation This concept might come as obvious, yet it has multiple definitions that are bounded to the space from which they originate (Rana et al, 2014 & Unceta et al, 2016), for those on the social sciences the definition might be different than for those on business administration, and so is the action and awaited results coming from them. SI is considered a human practice, as well as the base for a sector of the economy, competing and complementing the other sectors4(Jiménez and Morales, 2011). Yet, another paradigm from social sciences define SI as changes in norms, interactions, behaviours, institutions and world views, which are more related to how peo-

3 Although Portugal might not seem as Country special for the development of Social Innovation, it could be said that it has some special features, like a growing interest on the field, even expressed in an interest from the Government, that started a program to finance SI in the year 2014 (Diário da República, 2014). 4 Being the other sectors of the economy: resource extraction, industrial manufacture, and services. Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 139 Teresa Sarmento and Isaac Ortega Alvarado ple stablish connections within societies (Hämäläinen & Heiskala, 2007).

The concept found acceptance inside the business and management jargon, where it is closely related to the concept of social responsibility, and defined as any change enacted to solve social issues (Mulgan, 2007), usually embodied as products or services, furthered by a notion that SI should be present as part of new businesses (Pol & Vile, 2009). This creates a recognizable tension about the best form of organization for SI, as businesses seem to be the leading kind, letting aside other forms of collective organization, yet business innovation follows different objectives and growth patterns that do not fit SI in terms of objectives (Mulgan, 2007). The former tension is directly related to the subjects of funding (financing) and origin of SI. Funding defines the kind of participation other actors might have, such as government budgets and private parties’ donations that may have a directing effect over the initiatives, which is why some might point to social businesses as the best way to gain financial self-sustainability and independence to attain the initiatives’ goals without external intervention, yet it can be a problem as it imposes the measurement of goals in terms of generation of economic value return instead of on the multidimensional factors impacted that are social and environmental in nature and cannot be measured in a linear action-effect way demanding models that include said complexities (Antadze et al, 2012). The intervening actors, as external participants who provide funding or the starters (entrepreneurs) of the processes of SI is another tension that can be abstracted from this revision, there are two present concepts, the one of Top-down SI and Bottom-up SI; being top-down initiatives the ones that are started from institu- tionalized organizations, private or governmental and bottom-up the ones pushed by the people who need it and organize themselves to solve their own problems. In both cases the presence of entrepreneurs is important, but in the first cases, SI comes as a solution given from outsiders, while in the second it comes from the same people needing or requesting it. Yet Murray et al (2010) point that the process of SI is usually hybrid and involves both ends of the social pyramid.

Design and Social Aspects What does it mean for Design to have a social role? This is a question that remains partially unanswered, but has long been discussed. The most common answer is by accounting the ways in which products and services impact the lives of its users, by trying to reduce the impact of such products in the physical spaces of users, in a way that can be noted as a responsibility of Design, so that the social side of Design is by not harming and avoiding harms to human’s lives (Papanek, 1985). But there is also the consideration of Design as the practice enabling products and services through which interactions happen, so that even the norms for social behaviour can be regulated by design (Norman, 2011). There is also a call for the designer to acknowledge the social context in which design participates, as Bu- chanan (2001b) pointed out, design can also participate in the formation of systems, a system that is not tangible, yet all people can have a notion of being part of it. So, the participation of each individual and institution within that system can also be changed by intentionally designing solutions that consider the social space they are part of, not only on the objects but also on the connections that are not of a tangible nature. Design is not considered a social practice, but rather an enabler of better conditions, the problematization seems to be on what it can improve in the social space: better objects or better interactions. Design should also be considered in its political dimension (Kiem, 2011) and as the practice performing the solutions of a specific economical system (Julier, 2017). So, the inclusion of Design in the social space must be accompanied by the appropriation of social methods for research and action, as they would allow designers to generate solutions more closely related to the real needs of the user (Janzer & Weinstein, 2014).

Practices of Design Many of the methods of research for Design found on journal articles are suitable for SI, and usually show examples of methods that aim at solving social issues by including the participation of the communities affected. These include the application of Participatory and collaborative methods, in which Designers act as researchers and facilitators of the processes by focusing on the ways in which the community gets engaged and not on the formal solutions. Sanders & Stappers (2008) identify two paradigms for Design practices working with social issues: 1) based on the user as a subject and 2) the user as a partner. It appears in practice that the second is common for initiatives in academic environments, such as university research programs, and not so common in private/commercial environments, in which the process might be present but not as a way of engaging people, more with the intention of gaining insights to be used as part of the information available to designers. Among the methods, Design Thinking and action-research are predominant in the literature examples, presenting a different face of what it entails to be a practicing designer, as Julier (2017) notes as the new visuality for Design as the focus moves from objects to processes. For SI, Design practices are also concerned with the

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 140 Roles of Design in Social Innovation: examples from Portugal representation and visualization of social interactions, but raising issues that emerge from just leading the working sessions leave designers with minor participation and takes away their capacity to guide solutions (Manzini, 2016). The four concepts reviewed serve in showing that there is ground to look for the integration of Design and SI. Although there is still a gap on how designers should approach this field to enter as professionals, as the awaited outcomes might not seem relevant to the kind of productions designers are used to, and the fact that SI is moved forward by institutions that might as well not recognize the potential capacities of Design for organization and to put together all actors in a network towards the generation of a solution. The contributions of Design to SI, if it is recognized as Design, will be dependent on the conceptual frame taken by those enacting SI, if it is recognized as an embedded step, then it must be cultivated as it has been done in industrial/commercial scenarios.

FIELD STUDIES: EXAMPLES ON PORTUGAL

Portugal can be considered a country in which SI is midway in terms of development, as abstracted from the data in the Social Innovation Index 2016 by The Economist (Kondo, 2016). This first insight about the situation of SI in Portugal is important as it allows to understand that this is not the country with the best development of SI and not the worst. In the four aspects evaluated by the mentioned index (Kondo, 2016) Portugal is only underscoring in terms of financing for SI, in the other three, which are entrepreneurship, civil society and policy and institutional framework, it is in the middle (considering the countries evaluated). The general situation of SI in Portugal is acknowledged here as it results convenient for this research, it provides a case that can be used as example and might help in the conceptualization (Bryman, 2012, p. 387) of a how SI is conducted in Portugal and to describe a path of action for Design to be better integrated into it. As the interest of this research is not on the general, but on the details, it was decided to conduct it by using qualitative methods, following the principles of the process of Grounded Theory (Corbin & Strauss, 1990), which allow to grasp details and construct a vision about the possible participation of Design in SI. The information gathering for this research was made from two sources: 1) by reviewing literature, which has already been presented in the previews section of this paper, and 2) by applying ten unstructured interviews (Bryman, 2012, p. 471) with people working on initiatives related to SI, of which three were also connected to the field of Design, all of them from the country of Portugal. The process for the selection of the participants was purposive, with the aim of selecting examples in different regions of the country, and with projects tackling different objectives. It involved contacting around 30 SI initiatives by e-mail over the period of three weeks, of which 10 accepted to participate. These interviews were realized over the period of 4 months, see Table 1.

Subject Location Origin Scope 1 Algarve Public Call Social Business / Community Project 2 Porto Social Association Social Business / Workshop/Non-profit 3 Miranda do Douro Social Association Social Business/Non-profit 4 Beja Academic (state) Social Business 5 Braga Social Association Social Business/Non-profit 6 Lisbon Social Association Social Business 7 Porto Public Entity Community Project 8 Porto Private Practice Consultancy / Business 9 Porto Academic (State) Workshop / Knowledge transfer 10 Aveiro Academic (State) Research institute Table 1. Portuguese examples with location, type of origin and scope of work. The interviewees who participated were people from the working team of the seven SI related initiatives, and three from Design related professionals. As mentioned before, his sampling was purposive; with the intention of having examples in different areas of the country and with different SI goals, and at the same time a theoretical sampling from literature sources was done by using the concepts that were framed from the notes taken on each interview (Bryman, 2012, pp. 418-420).

DATA ANALYSIS The information gathered from the ten interviews conducted was first analyzed from notes taken, which were processed as memos (Bryman, 2012, p.573), and later used as subjects and themes for the content analysis of Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 141 Teresa Sarmento and Isaac Ortega Alvarado the interviews’ data (Bryman, 2012, p.297). The data abstracted from the interviews were reduced and classified in 8 categories; which also served to stablish the point of comparison with the findings from the literature review. Seven of the main categories are in relation to the concept of SI, and one is specifically related to Design. These categories are: Origin: as found in the literature review, SI can originate from various spaces (Mulgan,2007), and it could depart form the needs of a group of people or an institution, in both private and public sectors. In the ten examples the origin was mentioned, being more predominantly connected to private parties, such as socially oriented non-profit organizations, which already develop work for a social group, followed by mentions of individuals who act as entrepreneurs and start the process of SI; mentions of state or public organizations as origin or partners are the less, and not as present as the work of someone or of a private group (non-profit social association). Organization: from the literature review it was abstracted that when it comes to practices of Design on SI, the predominant is the work in conjunction with the communities, to solve or to better understand their problems. Yet the type of organization that is more present on these ten examples of SI initiatives is the one of Social Business, which imposes the need to focus on gaining profits and managing the project as in common commercial set-ups. Innovation: these are the changes being enacted, which should be related to the goals of the initiative, but the goals of a SI are not always the same of the organization developing it. For instance, in one of the examples their goal is to reduce depopulation of rural areas, but their SI is changing the relation between agricultural producers and consumers, so they can sell and buy without intermediaries. In the examples three predominant categories are present: integration of groups of people, change on relations (interactions) and new products/services, the last are used as tools to finance the operation and expansion of the SI that seeks the change intended. Funding: the concept of funding was mentioned in every interview, and remarked as one of the reasons for having business-like schemes. There are three concerns related to this subject can be remarked, the one of sales as a model based on offering a product or service that can generate revenue that helps in the sustain of the project, generating at the same time a kind of self-sustainability, which is the second concern, making an initiative self-sustainable to avoid depending on other organizations, connected to the third concern, which is in general how to raise money or gain partnerships to sustain the operation, it seems to be a major concern on the first stages of SI. Participation: this term is conceptualized from the characteristics indicated about the group of people worked with, not commonly indicated as a community, but recognized as the people benefited, which are referred in terms of their locality, or about a similar characteristic. The community is also integrated by the partners who take part on the initiative. As most initiatives work in the form of social businesses dependent on sales, buyers of the products/services are also considered part of the community. But in general terms, the community is regarded as an external group of people who gets help from the initiative or program; for example: in one case the community benefitted are women from one specific locality who are at the same time members of an ethnic group; in another the community benefitted are people in condition of homelessness and in another one are migrants in any city with high density of population, and in one the community are rural agricultural producers who live in areas where depopulation is increasing due to migration from rural to cities. In all cases the community is identified as being helped, and the implemented solution is given to them and assumed by others, not by a request from the group itself; in some cases, it might be the right choice of acting, as people in certain conditions might not find the right spaces to communicate their own desires. Impact: the common concerns about Impact are three: one is that it is not easily measured, as the goals are not for short-terms nor on standard key performance indicators, rather come as something that is qualitative, “felt” or “intuited” by the working team. And the second that it is only recognizable in terms of numbers of participants and lives impacted, improvement in conditions and general emotion state of the participants. The third one is on relation to the long-term growth or adoption of the SI over time, which comes in two ways, one as wide adoption of it, even by government institutions in the form of partnerships, at least in five of the interviews it was clear that their intention is to grew and be integrated by state or public institutions, by provoking a systemic change (Murray et al, 2010). The other way being growing in terms of sales, which would allow at the same time a self- funding mean, which is the main reason for having business-like organizations, sales become a way of measuring the success, but not the impact of the initiative. Teamwork: on this subject there is not one specific professional profile for the people who integrate the core team, but people that are prone to look over or assume the roles of management, and to fill gaps related to communication and marketing, and leave other specialties as external partners or volunteers, in some cases the structure is such that there is a person who acts as founder/coordinator/CEO/entrepreneur and is the head

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 142 Roles of Design in Social Innovation: examples from Portugal of the operation and ideation of solutions, while the others are supporting roles in other areas. Only in one interview the importance of including the community as part of the working group was stated, giving importance to generating a space for an active civil society. And, for the interest of this research, designers are usually external participants that assume a role in shaping the product or interface for a service that is offered as part of the sales effort.

Design: as noted by Manzini (2015) it is a human attitude, and a mode for doing that seeks to differentiate from the classical common way. In that sense, it can be argued that Design is present in all SI examples that participated in the interviews, a notion that can be abstracted from the process followed by the initiatives from their starting points, which follows a common pattern, starting with someone thinking over a problem or an opportunity to solve a problem an enacting to change the situation. The process includes a stage of prototyping or testing the solution with users, similar to the process of Design Thinking, with inspiration, ideation and implementation; but lacking the participation of the community on the creation of solutions, something that in the literature review appears like the common endeavor for designers. Which as one of the interviewees coming from Design academia pointed out “it is our role to prove that we can do a differentiation”, this followed with the notion that designers should be part of the communities as committed members. But in the examples interviewed Design is mainly seen as the work of experts, aimed at generating sales by offering nice products, and not by connecting the different actors together.

DISCUSSION

From the examples of interviewed in Portugal it can be abstracted that the model of social business (figure 1) is the norm for SI, although this is only one of the many organization types as mentioned by Mulgan (2007). Hav- ing one model as the main or only way of doing SI, also imposes a series of conditions, such as giving a major importance to gaining a stable economic sustain through sales, as Pol & Vile (2009) already noted organizations need funding and the overlap of both SI and business innovation might be a good path to earning the funds needed, yet, it can divert the attention from the main goal, as seen in some of the interviewed examples, in which the attention was focused on gaining a certain amount of money or having a number of buyers in a specific period of time, instead of looking for other ways to enact the SI intended by testing alternative solutions.

Figure 1. Model of Social Business: based on profits to sustain social impact.

The concern of funding is very important, not only because it drives the kind of organization, but also because it imposes the kind of partnerships considered for SI, only one of the interviewees mentioned the importance of having partnerships with the public, state or government, as a way of gaining funds, while in other six having the participation of public partners was regarded as a mean to expand their enacted SI, and only in one, public partnerships were completely disregarded. Yet in almost all examples the participation of private actors, such as other businesses and socially oriented non-profit organizations is predominant, and these kinds of organizations also act as the originators of the SI. Considering the actors involved, it is also necessary to point out that in most of these examples there is distance between the people enacting SI and the people being attended, it is SI being enacted as a kind of aid for people with a perceived vulnerability, for whom a solution is found. Only two of the participants mentioned the importance of having people from a specific community being active participants of their solutions, the others assumed the role of generating a solution and handling it to the community, yet seven of the interviewees made clear that at some point their strategy, products or services changed according to the feedback received from the community they intend to help, as one of the interviewees mentioned about the process of generating ideas: “it was not really something structured, it was, you know the person who actually cofounded”. Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 143 Teresa Sarmento and Isaac Ortega Alvarado

The process of ideation, that in the literature of Design practices appears as mainly driven by professional designers working in conjunction with members of a community seems to be missing in most of these examples. So, ideas about how to implement the SI come from the central team working on it, as it would happen in a normal business environment, and not in the direct relation to the community. Design is also present in most of the examples, but not as a process that crosses all the stages of the SI, just in the implementation stages, providing objects that are of some value market, such as branding, packaging, interfaces and even user experience considerations. Yet, the assumption that designers can take leadership roles and drive the systemic solutions as proposed by Brown (2008) is not present on most of the examples of SI interviewed for this research. The participants interviewed revealed that Design takes a role that fits classical industry or business mindsets, in which designers participate on the final processes by adding a layer that has a market value, and that is important for increasing sales, but that doesn’t participate in strategically solving the problems of a community, or by offering a wide variety of solutions for the problems approached. Also, that tools of Design as the capacity to work with users to recognize what their needs are, are not being accounted as part of SI and could be incorporated by making the communities participants of the processes.

CONCLUSION

Social businesses appear to be the main model of organization for SI in Portugal, but this is not the only model possible, and other possibilities could be tested by working directly with communities and leaving aside concerns such as profit, and Design could bring this kind of openness towards trying new things. These kinds of efforts could be initiated by designers, as they could help in creating the conditions, even on visualizing the right processes for those conditions to exist, fostering new behaviors, interactions and of course organizations. The participation of designers on SI could be increased by promoting their participation as entrepreneurs or as facilitators of the processes of improvement of their own communities, as it would help in spreading Design practices that are more connected to the needs of the people, by recognizing their voices and own problems. As Julier (2010) mentions, the culture of designers is what gives them the capacity to connect people, by reconfiguring routines and points of view. On the other hand, if the model of social businesses is to be taken as the norm of SI, having knowledge of the stages in which they develop and paying attention to the fact that conditions such as funding and economic sustainability are the main issues, it can help designer in leveraging solutions that are more business-like wise and to move from those solutions to forms of actions better suited to the goal of connecting with the people to be benefitted, who should be at the center of the process of SI. In both scenarios, whether SI is only seen as Social Businesses or if other forms of organizations are integrated as well, designers can help in creating the links that connect members of the benefitted group with those from other society groups, by recognizing that the solutions are aimed at improving human lives and giving the conditions for better human interaction, which is what makes SI feasible. Design could be better integrated to SI by using collaborative and participative methods as found on the literature review; and the role designers could play should be more related to making sense of the interactions happening as part of a social system, by fostering solutions that bring together all the actors, focusing on the organization as the participation of mixed partners, not just as helping others. Including others on their solutions, is what the new roles of Design call for, but it requires a set of soft skills that are not necessarily part of the tool-box of all traditionally educated designers, but that is work for further research.

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Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 145

The challenge of embedding design for social change and innovation in Higher Education curricula and the role of DISCERN (DesIgn for Social Change and innovation through a EuRopean Network)

Nicos Souleles a, Stefania Savva a and Ana Margarida Ferreira b,c

a Cyprus University of Technology, Art and Design: elearning lab Limassol, Cyprus [email protected] [email protected]

b IADE, Universidade Europeia, Laureate Universities, Lisbon, Portugal c UNIDCOM/IADE, Lisbon, Portugal [email protected]

ABSTRACT

Europe is confronted with a variety of social challenges such as climate change, influx of refugees, ageing populations, wealth disparities, unemployment, cultural intolerance and many more. However, demand for the graduate skills and competencies that foster design for social change and innovation outstrips supply. To a large extent this has to do with the fact that Higher Education (HE) responses and initiatives in this area remain under-developed and sparse. Subsequently, HE curricula do not foster overall and in a systematic manner sufficiently for the skills and competencies required. In addition, there is overall weak collaboration between HE institutions and social innovation enterprises, when – it is argued – that such synergies can be beneficial to both parties and can help address some of the social challenges Europe is confronted with. This paper draws from a small-scale needs analysis to identify some of the themes that can inform curriculum design and innovation in the area of social change and innovation, and suggests themes and aspects of the task that the DISCERN project will explore further.

Keywords: Co-design, Social Innovation, HE Design Curricula, Social Change, Sustainability

INTRODUCTION

The diverse and large-scale social challenges confronting Europe, and stemming from among others, climate change, influx of refugees, ageing populations, wealth disparities, unemployment, cultural intolerance, and pressures on public sector finances, require innovative and agile responses on how such challenges and the opportunities they generate are framed and addressed. In recent years, there have been increasing attempts to address these challenges through design for social change and innovation (Fuad-Luke, 2009; Margolin, 2014; Manzini, 2016). However, demand for the skills and competencies that foster design for social change and innovation outstrips supply. In Europe, Higher Education (HE) approaches in this area remain fragmented, piecemeal and inconsistent, comprising mostly small-scale and isolated academic initiatives that are often cut- off from real social contexts. An example of an exploratory academic strategy to address these topics could be

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 146 The challenge of embedding design for social change and innovation in Higher Education curricula and the role of DISCERN noticed at L3 Project, Lisbon community-based Learning Laboratory (Bernarda et al, 2017a). There is a lack of widespread and shared understanding of design for social change and innovation as an integral part of HE curricula in Europe (Thomson & Koskinen, 2012; European Commission, 2013, p. 8). In fact, with few exceptions the skills and competencies that relate to design for social change and innovation are not properly and systematically embedded in European HE programmes of study or Design Curricula (Rocha et al, 2017). Subsequently, it is argued that there is an unmet and current need to develop in collaboration with academic partners and other relevant social innovation enterprises the multidisciplinary knowledge and transversal competencies and opportunities that foster design for social change and innovation through HE curricula (Thomson & Koskinen, 2012). The purpose of this paper is to elaborate on some of the challenges that the above objective is confronted with, and to indicate relevant issues and themes to be considered further. Some pertinent questions are: What instructional strategies and approaches are relevant to foster the appropriate competencies? What form should the collaboration of academia and social design enterprises take so that it can foster the relevant competencies? How can the sustainability of such collaborations be promoted? This paper is informed by a small-scale needs analysis originally undertaken to advise the development of the DISCERN project. Thus, it has a limited scope, i.e. to provide insights that additional research can further explore. It is not structured to provide in an inductive manner a conclusion, but rather to present themes this study has identified based on a needs analysis. The needs analysis comprises of two parts. Firstly, a desk research was undertaken of related literature including appropriate European Union (EU) documents to track down useful existing pre-published information. Secondly, an online qualitative survey (Appendix 1) was undertaken (n=131) over a period of three months in 2016, inviting representatives from academia and relevant social enterprises to comment on their perceptions on how synergies between these two groups can foster and sustain design for social change and innovation. The themes below emerged from the synthesis of both parts of the needs analysis. The statements accompaniying some of the themes are only indicative of the category they represent and not an indication of the strength of each theme. This is an attempt to identify groups of self- contained and recognisible issues, to discern to some extent the dimensions of the challenge.

HE in Partnership with Social Enterprises to Foster Design for Social Change and Innovation In 2014, a report by the Arts and Humanities Research Council (Armstrong, Bailey, Julier & Kimbell, 2014) examined the state of social design research in the United Kingdom, and argued that HE has barely begun to discuss what designing for social change might mean. In addition, the same report concluded that there is an absence of a recognizable instructional pipeline for design for social change and innovation through undergraduate teaching to postdoctoral research. Moreover, it is desirable to have co-outputs where Higher Educa- tion Institutions (HEIs) and non-HEI stakeholders are collaboratively engaged in addressing social challenges. Related to the same theme, the European Commission (2013) has also identified the need to properly embed in HE curricula and in close collaboration with related private enterprises, design-driven innovation through inter-disciplinary programmes of study.

Benefits of Cross-sectoral Collaboration between HE and Relevant Social Enterprises It is argued that there are multiple benefits in setting up cross-sectoral collaborations between HE and independent social innovation enterprises. A study by Nichols, Gaetz and Phipps (2015) identified the following benefits: Cross-sectoral collaborative activities have the potential to meaningfully extend the impact of joined outcomes, the sharing of co-created knowledge and the wider dissemination of results. Such partnerships provide viable opportunities to inform local/national policies as well as further research. In addition, there is increased potential to achieve novel solutions, vis-à-vis design for social change and innovation. To these benefits can be added the significance of social innovation enterprises informing related HE curricula. In 2012, an international conference organised by the Smithsonian Institution investigated whether there are professional and academic structures in place to support practising designers and students who are seeking career opportunities in the broad area of social impact design. The related White Paper released one year later (Lasky, 2013, p. 35), recommended that: a) Social impact design education can create productive opportunities if it works in close collaboration with the communities it wants to serve. b) Academia should establish pilot programmes in the area of design for social change and innovation either as tracks in existing programmes or stand-alone interdisciplinary programmes. c) Fellowships or other postgraduate programmes should be established to serve as a bridge between education and professional practice and career. Indicative of the potential benefits of cross-sectoral collaborations between HE and relevant social enterprises, is the following statement from the online survey: “…HE properly directed by missions which pursue the development of human capabilities, can help private enterprises articulate goals which are compatible with all forms of capital growth - especially human capital. I have seen numerous examples where, for example, design Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 147 Nicos Souleles, Stefania Savva and Ana Margarida Ferreira schools and their students have produced designs which improve the lives of elderly or disabled people, while creating opportunities for commercial success for the enterprises which put those designs into production…” (Participant 2)

Academic Professional Development and Design for Social Change and Innovation The role of teaching staff and their perceptions are of significance as studies have shown that teachers’ approaches to teaching and learning are strongly influenced by their own beliefs. In a study by Rivers, Nie and Armellini (2015), the authors sought the perceptions of teaching staff on social innovation. The objective was to develop strategies that inform how social innovation can be embedded across multiple academic disciplines. The study revealed that faculty hold their own perceptions of what design for social change and innovation entails, and subsequently there is a need to develop a unified and coherent approach at institutional level, and to address the variation in conceptions.

Sustainability of Collaborations The suggestions put forward from the online survey on the issue of developing sustainable synergies between academia and relevant social enterprises, include the following: a) The academic recognition of the long-term value of cross-sectoral collaboration should be incorporated in relevant faculty professional development. b) The establishment of constant and effective dialogue between partners. c) The development of synergies that are beneficial for both parties, and d) the identification of long-term and short-term shared benefits.

Teaching and Learning

Potential learning objectives and instructional strategies that foster design for social change and innovation in HE curricula were discerned from the needs analysis. These are listed below with a brief description and explanation of their significance. This is not an exhaustive list but rather an indicative one. For the purpose of convenience, where the themes share common characteristics, they are grouped under one title. Participatory and Collaborative mindset Design for social change and innovation entails the cultivation of participatory and co-design mindsets. This stems from the need to assess in collaboration with others the needs of varied groups of people, and to address with others a variety of social challenges. Subsequently, there is value in promoting the practice of collaborative design, of engaging in local social contexts, and of practising collaborative and participatory problem-solving. Through appropriate instructional strategies learners can explore the connection between design and problem-solving through a process of collaborative learning (Bernarda et al, 2017b). Through the same process they can learn how to listen, and how to develop empathy with groups of people from diverse backgrounds. This can lead to greater understanding and responsiveness to social, ethnic, linguistic and cultural diversity (Melles, de Vere & Misic, 2011; Torres & Moraes, 2006; Smith & Woodworth, 2012; Fleischmann, 2015; Nichols, Gaetz & Phipps, 2015; Vodeb, 2015; Dykes, Rodgers & Smyth, 2009; Villari & Mortati, 2014; De Vere & Phillips, 2015; Mulgan, 2006; Ramirez, 2011). This theme emerged also from the online survey. Indicative is the following statement: “…Ability to understand the complexity of stakeholders in different cultures [is an essential aspect of design for social change ]…” (Participant 4)

Self-efficacy Learners with a high social self-efficacy, i.e. a belief in one’s ability to effect positive social change, are more likely to engage with tasks that foster social innovation. Focusing on the development of self-efficacy in the domain of social innovation is thus an important instructional task and challenge. To achieve the combination of a social innovation and self-efficacy instructional approaches are required that function as a catalyst that channel and enhance students’ desires to make a difference in the world. Recommended instructional approaches foster the development of attitudes associated with the significance of social entrepreneurship, including the identification and study of prototypical individuals and their professional characteristics, and the provision of master classes and workshops (Smith & Woodworth, 2012; Veiga & Almendra, 2013; Haug, 2016).

Multidisciplinary/Interdisciplinary Practice

Effective responses to complex social problems require multifaceted and multidimensional interventions that are necessarily interdisciplinary in their methodological approaches. It is significant for such responses to be informed by knowledge, practices, skills and approaches that lie outside monodisciplinary approaches (Bernar- da et al, 2017a). Subsequently, there is a need to incorporate in related curricula an element of interdiscipli-

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 148 The challenge of embedding design for social change and innovation in Higher Education curricula and the role of DISCERN nary coursework. In addition, design is inherently interdisciplinary and combines concepts and thinking skills found in both art and science. Finally, it is argued that interdisciplinarity and multidisciplinarity need to be adopted for pragmatic reasons; to see and do things that cannot be seen or done adequately within the substantive and methodological confines of a single discipline. This includes concepts such as sustainability and inclusion (Corby, Williams, Sheth & Dhar, 2016; Lasky, 2013; Cope & Kalantzis, 2011; Fleischmann, 2015; Dykes, Rodgers & Smyth, 2009; European Commission, 2013). This theme emerged also from the online survey, and indicative is the statement: “…A greater understanding of areas outside the traditional design education is needed… [Learners] need to look more widely and outside the traditional Art and Design disciplines, which is far too narrow… [Learners] need to look more widely between science and design, business and design, law and design…” (Participant 7)

Problem-solving Strategies The starting point for social change and innovation is the identification of a current social need that is not met, followed by an idea or concept on how the need could be addressed. Some social needs are more abstract and general, such as discrimination and cultural intolerance, while others are narrower and have a more specific focus, for example, water shortage in certain geographic regions or the pollution of seas (Korčulanin et al, 2015a; Korčulanin et al, 2015b). To address these challenges, and depending on the nature of the task, a range of problem-solving methods are recommended, and there is a need to promote knowledge of them through HE curricula. These methods can include ethnography, design thinking, action research, and the development, prototyping and piloting of concepts (Mulgan, 2006, p. 150; Korčulanin et al, 2016). Each one of them entails a unique process of data gathering, evaluation and application. It is of relevance that learners can discern the characteristics of each method and critically apply the appropriate strategy depending on the context. Indicative is the following statement from the online survey: “…[Learners need] Creative thinking, strength of network, need to understand particular ecologies, good research skills…” (Participant 9)

Learner-centered Instructional Approaches The increased expectation that design education should cater for the skills and competencies that empower design graduates to deal successfully with the challenge of design for social innovation, brings to the forefront reflections on the appropriate pedagogies, and in particular the contrast between teacher-centred and master- apprentice instructional approaches. The preference for learner-centred instructional strategies as opposed to teacher-centred ones, to facilitate competencies for social change was highlighted by Souleles (2016). The authors argue that teacher-centred approaches do not promote competencies such as empathy, adaptability and flexibility, and the over-reliance on teacher-centred instructional strategies is diametrically opposed to notions of user-centred and evidence-based design.

Other Related Issues and Challenges for HE Curricula

There are further themes that emerged from the online survey and the desk research, but because these do not fit in the above categories, they are listed below individually. They are: a) The significance of delivering programmes of study that explicitly deals with aspects of social entrepreneurship. It is desirable for teaching and learning to seek to increase a sense of initiative and entrepreneurship, and this can be supported through relevant work placements as part of the curricula. This topic brings to forefront the need to better understand and further research the interconnections between formal and non-formal education in this area. b) Where successful collaborations between HE and social enterprises take place, these can be used to inform new collaborations. c) It is worth exploring the idea that a programme of studies can take advantage of learners with experience from relevant socially-orientated projects, to further interest and recruit new students, and thus potentially create a ripple effect. d) HE institutions are often restricted by layers of academic bureaucracy, and this can stifle initiatives that promote the desired collaborations. Measures can be taken to prioritize issues and avoid processes that are over-bureaucratic. e) Even though there is a lack of a clear understanding of what 'impact' entails in the context of social innovation, greater clarity of this term can lead to better-defined objectives and this could potentially boost apprecia- Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 149 Nicos Souleles, Stefania Savva and Ana Margarida Ferreira tion of the value of social change and innovation as part of HE curricula. Despite the lack of sharing a commonly accepted definition of the term, there does remain the importance of seeking evidence of impact (Lasky, 2013). f) Lastly, there is a need to establish a process where HE research informs practice and practice informs research, vis-à-vis design for social change and innovation (European Commission, 2013, p. 10).

CONCLUSION

The intention of this paper was to highlight some key issues and themes that the DISCERN project will engage with. These themes emerged out a needs analysis that does not prioritise the issues in terms of their significance, but rather indicates them as points for further consideration. In particular, this paper elaborated on aspects of collaboration between academia and social innovation enterprises, as well as instructional approaches and content. We espouse the view that overall this area remains under-developed and under- researched, and subsequently it is desirable that HE pursues in a more systematic manner how to foster the appropriate skills and embed them in HE curricula. This task includes appropriate and close synergies with social innovation enterprises. It is the task of the DISCERN project to explore these themes further, and to pursue the challenge of developing an appropriate benchmark for the incorporation of related skills and competencies in HE.

APPENDIX 1: ONLINE SURVEY QUESTIONS

1) Are you: An academic/researcher (which discipline?), a professional (what occupation?), a student (studying what?), other?

2) How do you imagine/perceive related synergies between HEIs and private enterprises?

3) What competencies, skills, and knowledge do HE curricula need to foster, to promote design for social change and innovation?

4) Other comments on design for social change and innovation, higher education and related private enterprises?

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Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 151 Typography and vernacular brands in northeastern Brazil: for the valorization of the graphic heritage of Rio Grande do Norte

Álvaro Sousa a and Guilherme Santa Rosa b

a Departamento de Comunicação e Arte da Universidade de Aveiro Aveiro, Portugal [email protected]

b UFRN – Universidade Federal do Rio Grande do Norte Natal-RN, Brasil [email protected]

ABSTRACT

The visual expression of communication is also a determining manifestation of how people, groups or communities are represented. In many cases, the visual representation can be an identifying expression of a culture that remains permanently historically associated with it, departing from a binding imaginary, frequently influenced by market logic. Where technology is more developed, this visual expression of communication has been manipulated by agents interested in constructing ways of representing a culture without blemishes, almost Disney-like, purged of all local identifying traits. Thus, in contexts that are more dependent on manufacturing practice, a kind of imagescape (a landscape of communicational images) of a local matrix, whereby diversity is apparently Babel-like and also guarantees the maintenance of local identities. This article comprises a framework of research developed through post-doctoral studies, in which I employed photographic records and the geolocalization of typography and vernacular brands existing in public spaces in the state of Rio Grande do Norte, Brazil. The article presents an outsider’s view of imagetic patrimony that conforms to the daily life of the place, but is frequently undervalued due to its degree of ephemerality. The article begins with the framing and clarification of the key concepts and describes the criteria for the selection of images and the parameters employed in their organisation and analysis. Based on this analysis and classification, it is not only possible to organise a collection of images that is open and expandable, but also to establish a base for its pubic dissemination in order to take advantage of the collection in appreciating the drawing that defines the imagetic landscape of the region.

Keywords: typography, brand, vernacular, identity, patrimony

INTRODUCTION

The project that inspired this research was born of a fascination with the graphic landscape of Central and South American culture, particularly Brazilian culture. An opportunity arose due to the association between the Laboratório Lexus at UFRN, that hosted and integrated the researcher as a post-doctorate student, the director, who supervised all of the project, and the scholarship for a sabbatical granted by the FCT. Thus, for a period of seven months, images were collected and selected with the aim of capturing the spirit of the typography and of the vernacular brands existing in the state of Rio Grande do Norte. The strength of Brazilian graphic patrimony in public spaces can be seen in much of the territory, and it has very unique expressions, as has been profoundly studied by researchers within the area of design from Brazili- an universities including the Universidade Federal do Ceará, the Universidade Federal de Pernambuco and the Universidade de São Paulo. Some of these studies gained visibility not only in Brazil, but also on an internation-

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 152 Typography and vernacular brands in northeastern Brazil: for the valorization of the graphic heritage of Rio Grande do Norte al level, such as those regarding the Cordel in the northeast and the urban legend of a personality in the city of Rio de Janeiro who is called the Profeta Gentileza1 (Image 1).

Image 1 Mural of the Profeta Gentileza. Rio de Janeiro.

According to CAMARGO (2011, p.20), to look at a city “to which we do not belong opens possibilities of perception and reverie that differ from the daily experience in our own places. Routine alters day-to-day perception, making everything almost transparent with details that become imperceptible when cloaked by re- peated habit”. Despite the territory being vaster than that of just one city, extending to a state with significant cultural and economic contrasts shows the continuity of the graphic culture of the region – the fundamental aim of this research. The collecting and mapping should be transversal, but with an emphasis on form, from the most simple and ingenious written communications to more elaborate work developed by letterists2 or posterists3, true masters of an art that associates intuition, improvisation and artisanal practice with communication or graphic design.

CLARIFICATION OF CONCEPTS

Before explaining the framework of the project, it is important – given the specific characteristics of this research – to clarify the concepts involved. In many cases the meaning attributed here is not the colloquial meaning, therefore it is necessary to explain and justify these terms. We will begin with the concept of “typography”. Originally, when associated with the graphic arts, the type refers to the block of molten metal, "an individual imprint for each letter" (Heitlinger: 2006, p.58), embossed and containing writing signs for printing, or to the design of the typographic font capable of being reproduced over and over again, maintaining the same shape. However, in the context of this research, it is Flusser’s concept that will be the reference, in his affimation that typography should be considered (2010, p.81) “more as a new way of writing and thinking than a technique for producing prints or a method for disseminating alphanumeric information”. Therefore, we wish for “typography” to be understood in a broader form, relating more to the design of letters than to its reproduction; typography as an end in itself – the letters are designed and

1 https://pt.wikipedia.org/wiki/Profeta_Gentileza 2 A letterist is the term used to describe a graphic artist dedicated to designing lettering for physical or mobile mountings to advertise products, services or communicate information in public spaces. 3 A posterist is the term used to describe a graphic artist dedicated to designing and/or painting posters for physical or mobile mounting to advertise products, services or communicate information in public spaces. Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 153 Álvaro Sousa and Guilherme Santa Rosa composed, not by mechanical or digital processes, but individually and without necessitating their accurate reproduction as although often similar, they are mostly unique and unrepeatable, as they are the result of a drawing, letter by letter, manual and not systematic. The same occurs with the spacing between characters – whether kerning or tracking – and the leading, which is adjusted intuitively and varies according to the available space. The relation between the term and the older concept is assumed by the drawing of the letters, which although individual, remains inextricably linked to the concept of typography, once we assume that it is the writing of characters. Thus, we return to Flusser’s (2010, p.82) affirmation “typography is (…) writing graphic signs”, which, as a pleonasm, can be summarised as “writing”. This is the concept with which we agree and that will be drawn on in the development of this article (Image 2).

Image 2. Doorbell. A small mural that apart from functioning as a visual reinforcement also demonstrates the wish to communicate graphically. Another term to consider, as it is generally approached in a more encompassing and holistic form, is ‘brand’. In this specific case, and due to the importance that the visual component assumes, it is closer to the concept of ‘logo’, as in the majority of cases it is a drawn representation of a name, to which a symbol may be added. Therefore, opting for the term ‘brand’ with its proximity to the concept of “brand” originally associated with the way in which property is identified. According to Healey, the word brand comes from ‘archaic Norwe- gian of Germanic roots, meaning ‘to burn’ (2009, p.6), and literally means marking animals with hot iron. Costa affirms that brands are linked to “the physical act of marking, by incision or by pressure, surfaces such as stone, clay or animal skin” (2004, p31). This approach in which the brand functions as a form of identification, although far from the contemporary concept in which it functions as a system of global communication, conforms with the reality of this research. There are 3 further concepts to consider: Vernacular, Identity and Patrimony. Beginning with “vernacular”, and according to the Houaiss Dictionary, the term refers to languages and customs, meaning “of a country, nation or region”. In a figurative sense, “it is said in the correct language, without loanwords in the pronunciation, vocabulary or syntactic constructions: vernacular”. Delving further, the ICMOS – International Council on Monuments and Sites (a global non-government organization associated with UNESCO), describes vernacular as “the fundamental expression of the culture of a community, of its relationship with its territory, and at the same time, an expression of the diversity of world culture”. In summary, and adapting to the specific nature of this study, the term represents that which is culturally most genuine and without distortion, extending, in this case, to the concept of visual constructions of local identity. For the term “identity” we wish to signify a range of particular characteristics, that present someone, an entity, or as in this case, a community. There are also the characteristic traces of a group, oriented by the interaction of the group’s elements and their form of interacting between themselves and with other groups. The last concept is that of “patrimony”. Historically, the term is linked to the concept of inheritance – pa- ternal inheritance (from the Latin patri, father + monium, received). Returning to the Houaiss Dictionary, it is defined as a good, or set of goods, of material or immaterial nature, with recognised interest (cultural, historical, environmental, etc.), for a determined region, people or country. Although frequently undervalued, the Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 154 Typography and vernacular brands in northeastern Brazil: for the valorization of the graphic heritage of Rio Grande do Norte constant presence in the landscape, urban or otherwise, of popular graphic patrimony can create an identifying image that is impossible for visitors to disassociate from the region.

DEVELOPMENT OF THE PROJECT

In realising the primary objectives – the collecting and mapping of examples of typography and vernacular brands – the project began with gathering photographs of the existence of signs considered relevant, manually drawn and existing in public spaces in the Brazilian state of Rio Grande do Norte (Images 3, 4 and 5) The most concentrated collecting period began on January 30th, and extended to the end of February, with over 1300 images in photograph format registered, duly referenced and geo-localised. It is important to emphasize that the geolocalisation not only serves to identify the place: it is principally employed to bear witness, in order to map and preserve existing patrimony – whether ephemeral or permanent – for the future. This photographic archive has the characteristic of not being confined to a temporary time period, although the initial collection was undertaken within a well-defined time period and always by the same person. Thus, it was possible to add photographs of new situations and places, independent of whether they had an exact localisation or merely a reference to the name of a place, neighbourhood, city or municipality where the image was captured, with the capacity to include images apart from those gathered through the scope of this project and to accommodate photographs from various authors. The archive will be available via a web platform that is in development, with a collection of photographs and their respective mapping, that will soon be available at http://tipomarcando.web.ua.pt so that they may be accessible to all those interested.

Images 3 | 4| 5 Vernacular typography in different situations and with different mountings

CRITERIA FOR THE COLLECTING OF IMAGES AND THE POSTERIOR SORTING PROCESS

The recording and referencing of photographs employed different equipment, which can be verified by the disparities in the image quality. This occurs as, even using a reflex, compact or smartphone camera, what is important is the representation, the ability to perceive the drawings obtained and their localisation. The selection and registration of images conformed with two assumptions: firstly, the means of production was considered, with privilege given to manual and artisan designs or those with low technology, independent of whether they were characters or pictographic elements; secondly, in consideration was the necessity to identify and/or communicate something, independent of the message itself. Pichação4, graffiti and other inter-

4 Pichação means ‘tag’ in Brazilian Portuguese, and in this context, refers to the graffiti of the metropolises of São Paulo and Rio de Janeiro. Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 155 Álvaro Sousa and Guilherme Santa Rosa ventions of an artistic nature were excluded, either for being too informal, or for having or intending to have a high level of complexity associated with a low contribution toward the design of vernacular characteristics. The selection of a sample of images for study was conducted later, under the criteria of finding a significant group of elements that could serve as a basis for an understanding of identity, departing from visual culture. Thus, 100 images featuring local brands (Image 6), and 100 that focused on written information were selected. All 200 images aimed to include the territorial dimension and/or fit the parameters as detailed below.

Image 6 Brand drawn based on vernacular typography

PARAMETERS USED FOR CLASSIFICATION

The necessity of ordering and classifying all the collected images led to the establishment of a series of classification criteria, all of a qualitative nature. Thus, 5 parameters were initially created, related to type, characteristics of the design, perpetuity, mediums and message. To these, we added a scale for transversal classification of all of them, independent of the results of each one. The following is an explanation of each parameter and its subdivisions. Type was divided in 3 basic categories, capable of being understood intuitively. These are based on the form that composes the element to the evaluated, and are thus divided in Lettering, Brand, or Brand + Letter- ing. If in the first situation we refer to images in which the exposed element is comprised only of text, in the second we refer to images in which the main element has an identifying brand. The third case applies to situations in which the brand, independent of whether or not it has alphanumeric elements, also contains independent text. It is possible that an image could comply with more than one situation, which is also the case for the following parameters. The second parameter constitutes more technical divisions, relating to questions of design itself. This comprises an analysis of the design of the lettering, distinguishing between serif and sans serif lettering, allowing for – as happens in many cases – the indication of the existence of one and the other. Complementary characteristics of serif are the existence or absence of shadow, of contour and of the style that assumes the design of lettering, opting in this last case for 4 different categories, sufficiently broad so as to include all recorded situations: decorative, regular, italic and calligraphic. Once again, given the typographic variation of each element to classify, it is possible that the selected options may be more than one. This is the principal reason we did not consider this classification taxonomy, as due to the quantity and variety of the possible responses for each situation could greatly exceed the limit that we consider reasonable. Another category considered resorting to typographic elements and non-typographic elements, as these can be any kind of graphic element added to the image or design. We included colour in this second parameter, dividing it in 3 categories: the number of colours present in the element, the colour, or colours, dominant in Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 156 Typography and vernacular brands in northeastern Brazil: for the valorization of the graphic heritage of Rio Grande do Norte the background or on the mounting, and the colours represented, apart from the background. The third parameter is related to the permanency of the elements, divided between elements of a long duration, i.e. that resist wear and tear for a minimum period that can vary between six month and one year, and those of short duration, whose durability is estimated at less than six months. The fourth parameter refers to the spatial position of the mount, given that in this case, the mounting can only be considered fixed or portable. The kind of mounting does not enter into this parameter, as the physical characteristics of the mounting are associated with its initial description. The fifth and final parameter is associated with the kind of message. The content of the message is related to a certain aspect, of a commercial, promotional, informative, identifying, political or religious nature, with the classification ‘undifferentiated’ for those that do not fit in any of the above categories. One again, given the flexibility of the message, it is possible that each case could be associated with more than one category. With regard to the classification scale, this was divided in five different levels, each one related with the final result of the original intervention. Aesthetics, the degree of elaboration of the design, the degree of normalisation and/or planning, the range and extension of audiences and the graphic competency of the artist/artisan are factors that are considered in the construction of this scale of levels. They are laid out as follows:

1. At this level, a low level of aesthetic consideration is expected, with the design immature or inconsistent, a record of communication reduced to a message and a low index of formal considerations, a low level of planning or normalisation, absence of ambition, and a very amateur result. A low degree of identity, in the majority of situations, of the without much thought as to how the message will be received by others.

2. At this level, work in which aesthetic criteria are reduced and that does not display great ambitions for visibility is expected. The design is scarcely developed and demonstrates a relatively low index of formal considerations. The degree of planning is low, revealing amateurism in the design, although also showing some care. Much is self-drawn/designed, but some are the result of commissions by artisan letterists.

3. At this third level, the artisanal production demonstrates some care, having been generally developed by letterists with good technique, although some small errors may still be found in relation to graphic knowledge, and specifically typographic knowledge. The design is frequently the result of the adaptation of techniques in which the artisan is skilled. A degree of planning and ideas of normalisation are perceptible.

4. Level 4 includes artisanal production by professional letterists, with aesthetic ambitions and knowledge of letter design. There are attempts towards normalisation and simulation of industrial/advertising production. The design is well elaborated and frequented directed towards advertising for local brands, aiming to obtain a result that is close to large-scale graphic production. Pre-stipulated designs are frequently used or copied. This work is executed by professional artisan letterists.

5.At level 5, despite the fact that production is artisanal, it is still standard and professional. Often, they have worked with the valuation of brands on a national or international level, replicating the communication/design of these brands. In this category, there are few images, as the work is subject to the rules and conditions of whoever has placed the commission, not allowing space for the artisan to express themselves.

The selected images for this research began, essentially, at levels 2, 3, and although to a lesser extent, levels 1 and 4. Although all the classification levels were related with artisan work, it was limited to these fundamentally to seek, at different levels, an expression that was closest to the concept of the vernacular and with a space less conditioned by the rules that large companies impose.

6. Reflection on the project and future development

Thus far, this project – apart from distinguishing important characteristics of identity, the great weight that it is possible to see the classified images on the first levels of the defined scale, through what is common between them – reinforces the idea that the production of the artisan letterists possesses characteristics which differ to those that designers develop, in terms of both method and form. However, with new digital printing technology, much of which up until now was produced with artisan techniques and improvised designs is now threatened, putting the profession of the letterist at risk. According to Finizola, “more and more, the popular billboards, painted by hand, fight for space with signboards made with adhesive vinyl or digital printing” (2013, p.13). Thus, it is necessary to collect and georeference this patrimony, which is frequently ephemeral, in order to preserve and disseminate this part of existing visual culture

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 157 Álvaro Sousa and Guilherme Santa Rosa that in many cases, is being substituted by new, more sophisticated means of production, and at the same time, levelled by the phenomenon of globalisation, cancelling a substantial part of local identity. On the nossotipo.wordpress.com blog, Rafaela Tidres asks if “Vernacular Typography is nothing more than “lettering” with characteristics of a region or people, i.e. you know that line painted by hand that Joe paints and hangs up at the store saying that he’s going to have Cup football on the TV”?, implying yes, because “at the end of the day, each letter is in a format and no-one can make it exactly the same”. If this concept, for a designer, can appear almost a heresy, we cannot forget that it was in this way that Gutenberg’s press was born, using 290 different glyphs according to Heitinger (2006, p.61) appearing that the form of each grouping of letters became unrepeatable, like the books made by the copyists, and for the text of the first printed bible to be justified in perfection. Thus, to reinforce and fit in with the paper that vernacular graphic expression closes in itself, Dones (2008:10) affirms that it is important to “surpass elitist patterns dictated by taste and by ready- made models, and recognise the necessity of preserving a knowledge that runs the risk of falling into oblivion”. The same author states that these artisans “connect and live with official graphic design, and should, therefore be included and recognised in the current graphic community” (ibidem), all of this patrimony that is a reflection of the popular culture, and therefore part of its soul and identity cannot be lost. In the future, apart from keeping the image bank open, not only for consultation, but for the participation and collaboration of all interested, on a platform where all the developed work will be presented, it is also an objective, as a means of validating this study, to develop a typographic font that is capable of exposing this identity, in addition to designing and producing a book to proffer an knowledge of and a wish to understand the identity of the region through its partrimony, which is as material as immaterial.

References

Camargo, M. (2011). Os lugares e as coisas (ou notas sobre o esquecimento). URBE: cultura visual urbana e contemporanei- dade. Porto Alegre. Costa, J. (2004). La imagem de marca. Paidós ibérica: Barcelona. Dones, V.L. (2008). Tipografia vernacular: a revolução silenciosa das letras do cotidiano. Anais do 6º Encontro Nacional da Rede Alfredo de Carvalho. ALCAR – Associação Brasileira de Pesquisadores de História da Mídia. Retrieved in 25 of June, 2017. Finizola, F. (2010). Tipografia Vernacular Urbana. Blusher, São Paulo. Flusser, V. (2010). A escrita: há futuro para a escrita?. Annablume, São Paulo. Heitlinger, P. (2006). Tipografia - Origens, Formas e Uso das Letras. Dinalivro, Lisboa. Healey, M. (2009). O que é o branding?. Editora Gustavo Gili: Barcelona. Houaiss, A. (2009). Dicionário eletrônico Houaiss da língua portuguesa. Rio de Janeiro: Objetiva. Versão Monousuário 3.0 [CD-ROM]. , Retrieved in 3 of July, 2017. ICMOS (1999). Carta sobre o património construído vernáculo – 1999. Retrieved in 11 of July, 2017.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 158 Fostering a culture of collaboration through playful Design Jams

Tang Tanga and Valentina Vezzani b

a School of Design, Faculty of Arts, Humanities and Cultures University of Leeds, Leeds, UK [email protected]

b Paco Design Collaborative Milan, Italy and Funchal, Madeira, Portugal [email protected]

ABSTRACT

This paper explores the potential of playful design jam as a complement to the formal education to foster a culture of collaboration in an informal learning environment. The literature is reviewed to explore the concept of collaboration capability, the model of team development and the theory of play, and identify the processes and variables that enable playful collaboration. The collaborative path within design jams is mapped, and playful moments and critical moments for an increased motivation for collaboration are identified. By reflecting on nine design jams conducted as part of Global Jam events, activities, tools, methods and environment to facilitate effective collaboration among the participants are discussed. Keywords: Collaboration Capability, Team Development, Playful Collaboration, Design Education, Design Jams

INTRODUCTION

Design is most often a collaborative process. Contemporary design practice, situated within a global economy is beginning to shift from project-specific collaboration to ever-more collaborative models, where professional designers collaborate within interdisciplinary teams of various experts and stakeholders to address multifaceted, wicked problems. Given that project requirements have become increasingly more complicated, it could be argued that professional designers collectively view collaboration as essential to contemporary design practice (Larsson, 2003), and team-working skills as being a vital part of the design graduate portfolio (Tucker, 2016). However, the very acceptance of this idea has in some ways led to the greatest challenge for education. Nor- man (2010) has pointed out the deficits and challenges of design education that today’s designers “are woeful- ly under-educated for the task”. Designers are poorly trained to “understand the complexity of the issues and the depth of knowledge already know” (Norman, 2010). This has resulted in a question being raised about how universities could develop collaboration capabilities in design students to meet the industry’s demand for professional practice in teamwork. Indeed, concerns have been expressed about an increasingly wide “gap” between teamwork skills and capabilities of graduates, and the requirements and demands of the work environment in addressing systemic wicked problems (Gavilanez et al., 2016). Interdisciplinary teamwork, although well practised in industry, is not always implemented effectively in education (Design Council 2007). The mere occurrence of teamwork opportunity in higher education curricula has proven yet as insufficient in ensuring the successful development of capability for effective collaboration (Head 2003). Gavilanez et al. (2016, p29) identify that “exposure to teamwork experiences does not guarantee student knowledge about effective teamwork practices”. Particu- larly because in the formal learning context, team-working skills are still often viewed as generic skills that are not necessarily assessed and reported, students do not see them as important. Furthermore, the higher education environment often seeks to “norm-referenced” grading, where student work is graded based on com-

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 159 Tang Tang and Valentina Vezzani parison with peers’ work. Students compete for grades, so that some may feel that poor teamwork grades would impact higher degree aspirations, and subsequently their future career (Schinske and Tanner, 2014). This perception may also come to influence the collaborative process, and lead to a high level of resistance to collaborative learning in graduate students. Not surprisingly, many students are feeling less motivated to engage in collaborative projects, “especially high achievers, group work is not a term to swear by, but rather one to swear at” (Isaac, 2012, p. 83). Similarly, study with interior design students shows that upper-division students report a more negative attitude toward collaborative learning than the lower-division students. Given that upper-division students are close to entering the workforce, negative attitudes toward collaboration could have a significant impact on the success of the emerging professionals (Gale et al., 2014). Webb and Miller (2006) argue that the simple act of engaging in teamwork during one’s college education may not be enough to increase favourability. This paper explores the potential of playful design jam as a complement to the formal education to foster a culture of collaboration in an informal learning environment. The literature is reviewed to explore the concept of collaboration capability, the model of team development and the theory of play, and identify the processes and variables that enable playful collaboration. The collaborative path within design jams is mapped, and playful moments and critical moments for an increased motivation for collaboration are identified. By reflecting on nine design jams conducted as part of Global Jam events, activities, tools, methods and environment to facilitate effective collaboration among the participants are discussed.

BACKGROUND LITERATURE

Collaboration Capability Discussion and research of collaboration capability is fragmented across diverse disciplines such as management, business, marketing, education and psychology. Collaboration capability is a multi- and cross-level concept, and can be used to understand and analyse relational interaction on different levels: individual, team, intra-organisational, organisational and inter-organisational. Based on the review of 14 studies on collaboration at different levels of analysis, Blomqvist and Levy (2006, p39) define collaboration capability as: “the actor’s capability to build and manage network relationships based on mutual trust, communication and commitment”. Each of these aspects is closely related to and affects each other. According to Blomqvist and Levy (2006), trust is based on beliefs about the other party’s competence for the specific task and context, and has been identified as a threshold condition for partnerships. Literature of Blomqvist and Levy (ibid) shows that commitment, the second component of the collaborative relationship, consists of two dimensions: instrumental and emotional. The former is based on the evaluations and expectations about the future potentials, while the latter provides status and meaning of the relationship, and enhances the actors’ willingness to engage in the collaboration. Communication ensures that every actor knows what they are doing and when they have to do it, enhances the level of trust and promotes collaborative processes.

Team Development The development of student collaboration capability is not a linear process (Riebe et al., 2010). To foster a culture of collaboration, Riebe et al. (2010) highlight the important role of the facilitator in developing effective teams and student collaboration capability. In this study, Tuckman’s model of team development is used as a conceptual framework in order to ensure delivery of skills. Drawn from an extensive review of relevant research, Tuckman (1965) identifies four stages of progression and Tuckman and Jensen (1977) add a fifth stage, which is summarised in Table 1. Crowther et al. (2016) suggest that the enhancement of group cohesion, and hence trust and confidence in the group can be achieved by increasing emotional engagement and enjoyment within the context in which the collaboration takes place. Both the task activities and their emotional responses are considered in this project to engage students in collaborative projects.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 160 Fostering a culture of collaboration through playful Design Jams

Forming Feature: Testing Activities: Orientation Emotional responses: Hesitant participation (Yalom, (TTM1) and dependence to task 1970); anxiety, guardedness and a mixture of curiosity and confusion (Spitz and Sadock (1973); fears and fairly strong positive expectations (Lacoursiere, 1974); Description: Groups initially concern themselves with orientation accomplished primarily through testing. Such testing serves to identify the boundaries of both interpersonal and task behaviours. Coincident with testing in the interpersonal realm is the establishment of dependency relationships with leaders/ trainers/ facilitators, other group members, or preexisting standards. Storming Feature: In- Activities: Emotional Emotional responses: An increasing sense of frustration, (TTM2) tragroup conflict response to task de- depression and anger (Lacoursiere, 1974); conflict, domi- mands nance, and rebellion (Yalom, 1970) Description: The stage is characterised by conflict and polarization around interpersonal issues, with associated emotional responding in the task sphere. These behaviours serve as resistance to group influence and task requirements. Norming Feature: Develop- Activities: Open ex- Emotional responses: Mounting frustration, hostility (TTM3) ment of group change of relevant (Braaten, 1975); the period of beginning trust, cohesive- cohesion interpretations ness, interdependence (Spitz and Sadock, 1973); high affection (Dunphy, 1968) Description: Resistance is overcome in this stage. Ingroup feeling and cohesiveness develop, new standards evolve, and new roles are adopted. In the task realm, intimate, personal opinions are expressed. Performing Feature: Function- Activities: Emergence Emotional responses: Intimacy and cohesiveness (Yalom, (TTM4) al role relatedness of solutions 1970; Braaten, 1975); Description: Interpersonal structure becomes the tool of task activities. Roles become flexible and functional, and group energy is channelled into the task. Structural issues have been resolved, and structure can now become supportive of task performance. Adjourning Feature: Separa- Activities: Terminal Emotional responses: Disengagement, anxiety about (TTM5) tion and termina- review separation and termination, and positive feelings toward tion the leader (Spitz and Sadock, 1973); sadness and some self-evaluation (Lacoursiere, 1974) Description: Teams should be given a chance to recognise and discuss their achievements, “disengage and consciously move on” (Staggers et al., 2008, p. 485, cited in Riebe et al., 2010).

Table 1 Stages of team development (adopted from Tuckman, 1965; Tuckman and Jensen, 1977)

Motivation (M) for Collaborative Group Learning Willingness to participate in the group learning begins by identifying the positive interdependence among the students. According to Johnson et al. (1995, p.31), positive interdependence occurs “when one perceives that one is linked with others in a way so that one cannot succeed unless they do (and vice versa) and/or one must coordinate one’s efforts with the efforts of others to complete a task”. Consequently, students encourage and facilitate each other to complete tasks and reach the group’s goals (Johnson et al., 1995). Olsen and Kagan (1992, cited in Dörnyei, 1997) have identified five principal ways to achieve positive interdependence: (M1) Structuring the goal of joint performance; (M2) Rewarding the group’s overall production, in addition to the individual; (M3) Assigning different roles to each group member; (M4) Limiting the resources or giving out resources which need to be fitted together; (M5) Setting rules that emphasize the shared nature of responsibility for the group outcome. Additionally, group cohesiveness is considered to be one of the most important attributes of the successful cooperative learning that has a positive impact on further motivation to learn collaboratively. Dörnyei (1997) draws on the literature related to cooperative language learning and cooperative learning, and summaries the following factors that can enhance affiliation: (M6) Getting to know the group members, e.g. by spending time together and sharing genuine personal information; (M7) Proximity or physical closeness; (M8) Contact in situations where individuals can meet and communicate (e.g., cafeterias and other relaxation areas); (M9) Interaction in which the behaviour of each person influences the others; (M10) Cooperation between members for common goals; (M11) The rewarding nature of group experience for the individual; (M12) Successful completion of group task and a sense of group achievement; (M13) Joint hardship and common threat; (M14) Intergroup competition, e.g. to bring together members of small groups; (M15) Group legends to pump up “group pride”, e.g. through giving the group a name and inventing characteristic for the group; (M16) Investing in the group to create cohesiveness; (M17) Public commitment to the group to strengthen a sense of belonging. All the factors summarised above are needed for students to engage with collaborative group learning.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 161 Tang Tang and Valentina Vezzani

Characteristics of Play (CP), Learning and Collaboration Play has been identified as a powerful mediator for learning, and appears to be an applicable “motivating strategy” (Rieber, 1996), particularly to developing positive attitude toward learning (ibid.) and facilitating ontological change with students in constructivist (Rice, 2009) and social constructivist (Marone, 2016) learning environment. Most applications of constructivism theory address the way students construct their own conception of knowledge based on their interpretation of their personal experiences. In the constructivist paradigm of learning, students are provided with problem-solving tools and exposed to the multiplicity of views. As opposed to passively receiving information, they learn through sharing and conveying knowledge in a collaborative learning environment, and collaboration as individuals behaving in a way that benefits each participant differently (Head, 2003). While social constructivism involves the way students learn through social interaction and mutual process, and the learning activity focuses not only on benefits for individuals but all. Often this learning leads to a deeper level of collaboration, in which the group has become a community, creating a shared understanding of the goal of the group and a common sense of mutual benefit. Meyer and Land (2006) argue that students might feel challenged and lost, since this processes of learning require a transformation in the student – one must change oneself, and thus lose part of one’s old self. Integration of play into these processes could be helpful in which learning and effective collaboration can be achieved through playing with students’ preconceptions, conventions or breaking their habitual behaviour (Rice, 2009). Brown (2009) discusses functions of play beyond the fun factor, such as promoting social cohesion: “when people play, they become attuned to each other” and groups pull together in pursuit of a common goal” (p. 134); offering a protective context where people can practise new skills, challenge themselves and others and undertake risky experiments without the fear of the real-life obligations and consequences, which can result in surprising discoveries; and modulating “deep psychological fears and insecurities that threaten emotional closeness”, since “there are a variety of play behaviours that allow us to open up safely” (p. 163). In this research, play is defined as a series of playful characteristics that can integrate into instructional design and make learning and collaboration experience more appealing. From reviewing the literature related to play (Levy, 1978; Henricks, 1999; Brown, 2009; Khazaei, 2014) and the use of humour in learning (Kher et al., 1999; Pentaraki and Burkholder, 2017), characteristics of play to create a positive experience are summarised in Table 2.

Playful aspect Characteristic Strategies Focus Source of positive emotions (CP1) Childhood Connecting adults with Using kids toys and atmosphere to Object; The material of the memories childlike play express and recreate childlike play Environment project and environment (CP2) Fantasy Temporary separation Creating a desired imaginary world Meaning Meaning associated from the ordinary situation out of present reality with the object and environment (CP3) Playthings An unusual humorous Manipulating objects to produce Use Using or interacting with interpretation or use of something new or using ordinary the objects objects objects in the play which acquire new meanings to suit the purpose of the task (CP4) playful The joy of physical move- Enriching and facilitating interac- Activity Physical activity movement ment tions (CP5) playful Encouraging a different Using appropriate humour and People The effect of the playful attitudes attitude toward a common simple jokes to reduce tension and people’s attitudes and situation increase moments of joy behaviour (CP6) light Responding to humour Using audio broadcasting and Message, The effect of the mes- hearted funny visual aids to assist in the creation (audio, sage message of a positive climate visual aids)

Table 2. Characteristics of play to create a positive experience in learning Design Jams Design Jams are variants of Hackathon events where programmers, graphic designers, interface designers and project managers come together and work intensively on a software project (Briscoe and Mulligan, 2014; Vez- zani and Tang, 2014). Design Jams are conceptually similar collaborative events for designers and other creative professionals. Since 2011, the Service Design and Design for Sustainability communities have applied this format

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 162 Fostering a culture of collaboration through playful Design Jams for Global Service Jams and Global Sustainability Jams1. The Global Jams are conceived as non-profit events and run by a small group of global organisers who offer inspiration, basic rules and an online central platform to the regional Jams. Regional Jams are run voluntarily by local hosts who are passionate about service design and sustainability, and some of who might receive institutional or community support, but all share an ethos towards providing events that can be freely accessed by the public. The aim of Design Jams is to bring people with different backgrounds, skills and experiences together to learn about and use service design thinking and methods, and voluntarily dedicate 48 hours, a weekend, to co-designing solutions to local and problems and challenges. On Friday evening (local time) in each location, a global “secret theme” is announced. The theme is usually an abstract concept that requires re-interpretation from the jammers and allows a wide range of practical applications. The jammers are free to choose the problem to solve and their team with who discover, develop and prototype solutions on Saturday and Sunday with the guidance of facilitators and mentors, who usually have expertise in project management and creative and design related fields. Each team is asked to share on the Global Jam web platform significant information to implement the proposed solution, that is evidence and instructions for a physical functioning prototype of a product-service, an action plan and business model to take forward. In this paper the potential of Design Jams that have been taking place in the informal learning context to support student’s teamwork in a form of a ‘playful event’ is evaluated.

DESIGN JAM AS A PLAYFUL SOCIAL SPACE TO PROMOTE A CULTURE OF COLLABORATION

Whilst playful activities allow a wide range of possibilities, this paper applies an approach to collaboration that requires some physical engagement and experiential learning through the Design Jam (explained later). The jam involves the iterative design process that combines with Tuckman’s model (Tuckman, 1965; Tuckman and Jensen, 1977) of team development and Kolb (1984)’s experiential learning theory. Rice (2009, p.97) stresses the importance of critical reflection in the cycle of learning: “playful approaches in education may require activity and sensation, but experience alone is not sufficient for learning always to be achieved”. Therefore, the process of critical reflection must be integrated to turn the experience into learning and cultivating positive attitudes toward collaboration, which is inherent in Kolb (1984)’s learning cycle and Tuckman and Jensen’s (1977) adjourning stage of team development. The collaborative path within design jams is mapped onto Tuckman’s team development model in Figure 1. Playful characteristics and critical moments for an increased motivation for collaboration are also illustrated.

RESEARCH METHODS AND ANALYSIS

Questionnaires have been conducted with jammers to evaluate the impact of design jams on their personal and professional lives before and just after the jams (Q2). The questionnaire starts with some closed-ended questions that require Likert scale responses from “strongly disagree” through to “strongly agree”. At the end of the questionnaire, semi-structured questions are employed to allow students to respond holistically on their experience of the Jam. Semi-structured interviews (I) have been conducted several months after the events. Due to the purpose of this paper, the responses from 63 students participated in the Q1, 44 in Q2, and 12 in the interviews are selected for the analysis. All the participants enrolled in either undergraduate or postgraduate courses in the creative arts and design fields. Although the results do not reach statistical significance because of the small sample size, they give some indication of the value of playful collaborative events, and provide the basis for further investigation. Three main analysis methods, coding, matrix and mapping and clustering are adopted to deal with the data, carrying out the three analysis activities, data reduction, data display and conclusion drawing and verification (Miles and Huberman, 1984).

1 Global Service Jams planet.globalservicejam.org ; Global Sustainability Jams planet.globalsustainabilityjam.org

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 163 Tang Tang and Valentina Vezzani

Figure 1. Playful design jam process

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 164 Fostering a culture of collaboration through playful Design Jams

RESULTS

Student Perceptions of the Team Development When asking to rate their experience during the process in Q2, students considered that the collaboration worked better in the rotational brainstorming (55%) and ideation (32%) in the forming (TTM1) and storming stages (TTM2) of Tuckman’s model. During these stages, students were guided to form the teams according to their interests, a design challenge was identified and the setting of team norms was introduced for the first time through the ideation in terms of work standards and communication. Prototyping and testing, brainstorming and sharing ideas phases, and the jam schedule and deadlines assisted groups to achieve a shared vision of what to do and how to do it, evidenced by 91%, 66%, 59% and 50% agreement rate respectively. In general, 81% agreed that different points of view were encouraged, and 91% noted that each member talked about their expectations when working in a group, with a further 4% citing that everybody’s opinions and contributions were respected. Significantly, all of the responses agreed that collaboration among team members was encouraged and well supported. Students noted the following when commenting on about their journey through the team development process. “We assisted and collaborated with each other and exchanged ideas in order to the project to be successful. We learned from each other, and from the mentors [in the forming TTM1] who presented different projects” (Q2_44). “It was a really interesting experience to collaborate with students from other departments or disciplines of design” (Q2_20). “I love it because I met new people and in a very short period of time create and develop a lot of ideas and prototypes, and the final result” (Q2_06).

Student Perceptions of Playful Aspect of Design Jams All of the students in the Q2 enjoyed the process, with the 86% who stated that Design Jams were very playful. The inclusion of playful characteristics into the intensive learning process elicited positive responses. Q2_07 felt that “it was hard work, but still great fun and rewarding”. Q2_21 “thoroughly enjoyed the playfulness and being forced to create solutions under pressure”. Some attended the jams more than once, because they “enjoyed the first one” (I_01) and they “would… have a good challenge but have a lot of fun” (I_04), “meet wonderful people” (I_07) and “learnt a lot and could… apply a lot in [their] study” (Q2_23). Students identified the “GIF images” (CP6) used in the kick-off presentation and the “icebreaker/energiser” (CP4) in the forming (TTM1) and norming (TTM2) stages of Tuckman’s model as the enjoyable aspects of their experience. In the interviews that are conducted several months after the events, many raised that the “great working environment, appetite for new ideas, general excitement” (I_01) as memorable aspects of the event. The Jams provided “the atmosphere” for “having a good time, experimenting new situation and being requested to think lot” (I_08) and an unexpected funny way” to “learn and improve skills” (I_10).

Development of Collaboration Capability All the students rated that team-working skills, such as active listening and being open-minded developed throughout the process, and majority considered “sharing ideas, a clear and effective communication” and “a good capacity of cooperating to execute any agreed and organised activity” as enablers for collaboration, which reflects the “communication” and “commitment” of the collaboration capability defined by Blomqvist and Levy (2006). Additionally, the most profound outcome of attending Jams was an ontological change in the students with regards to their attitudes toward learning, design and collaboration. “It was a great opportunity to work with a set time frame. I couldn't believe that in 48 hours all the groups would be able to achieve all of these. It was for me also a challenge to do something differently. It felt great to prove to myself I can do it. Working in a team was fun and good, because the project grew thanks to our joint effort” (Q2_33). “The final result is not just what we did for the [design] challenge, in the end, we are better, faster and more open minded” (Q2_06). The process “altered my perception of collaborative learning across different disciplines (I_01), developed “a different attitude toward design (I_04) and adopt “a fun and happy way” to “go forward with work and life”(I_01). Now the teamwork “is getting easier every Jam (I_03), and they are “more patient” and take time to “listen and understand others (I-11). These transformative moments correlates with Rice’s (2009) reflection that learning is not simply a cognitive but an affective process. The learning process required a fundamental change in their preconception of collaborative projects that Q2_07 described it as “rewarding”. However, a few reported feeling “shy” (I-02) and “challenged” (Q2_33; I-04; I-07), since they have to get out of their shell (I_01). These reflect the claims in the literature on emotional responses associated with transformative learning (Meyer and Land, 2006) and team development (Tuckman, 1965).

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 165 Tang Tang and Valentina Vezzani

Student Perceptions of Collaboration after the Attendance The overall playful and collaborative environment was created and maintained at the Jam, which helped teams to stay motivated. Most of the participants in the interview identified the jams as a playful environment and approach to learning and working in teams, which they did not experience in the formal educational settings (I_11). All felt strongly about the importance of collaboration after attending the Jams. General comments also indicated a greater awareness of benefits of collaboration and teamwork: to ensure better productivity (I_10), often higher quality, more creative output (I_06), more in-depth knowledge (I_08), greater efficiency and faster delivery (Q2_06).

DISCUSSIONS AND CONCLUSION

Play represents one of the instructional approaches most closely matching these motivational factors for collaborative group learning. Constructivist learning and group work can be more or less playful according to the extent to which they include playful characteristics, each of which can influence learning and collaboration experience in a particular playful manner. The ability to collaborate – and its direct impact on continuous knowledge creation and innovation - has been made so consistently and conclusively that collaborative approaches have become a common feature of the design industry. Professional designers collaborate within interdisciplinary teams of export and stakeholders throughout the entire project in addressing complex problems. Jams not only provide a safe environment to experiment new ideas but also access to new design methods and skills, meet new people and learn from professionals or other professional disciplines. Design Jams are playful environments where students evolve on a cognitive level (learning-by-doing process), but more importantly on an affective level. Working playfully and collaboratively opens their minds, allows them to see problems and solutions with different eyes and embrace new positive attitudes and behaviours. Students were more confident with exploring knowledge from multiple perspectives and working in interdisciplinary teams. The study filled a relevant gap between design education, play and collaboration in an informal learning context by empirically developing and testing the process and methods for supporting collaboration within design jams. The findings contributed to valuable theoretical and practical implications that can promote student engagement in collaboration and teamwork.

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Johnson, D. W., Johnson, R. T., & Smith, K. A. (1995). Cooperative learning and individual student achievement in secondary schools. Secondary schools and cooperative learning: Theories, models, and strategies, 3-54. Khazaei, M. (2014). Playful Customer Experience-Examining the Integration of Playful Aspects into the Experience of Wait- ing at Family Physicians’ Offices, Doctoral dissertation, the Bergische Universität Wuppertal. Kher, N. M., Molstad, S., and Donahue, R. (1999). Using humor in the college classroom to enhance teaching effectiveness in ‘dread courses’. College Student Journal, 33, 400-406. Kolb, A. (1984) Experiential Learning: experience as the source of learning and development. Englewood Cliffs, NJ: Prentice-Hall Larsson, A. (2003) Making sense of collaboration: the challenge of thinking together in global design teams. In Proceedings of the 2003 international ACM SIGGROUP conference on Supporting group work (pp. 153-160). ACM. November 2003. Levy, J (1978) Play behaviour. New York [usw.]: Wiley. Marone, V. (2016). Playful Constructivism: Making Sense of Digital Games for Learning and Creativity Through Play, Design, and Participation. Journal for Virtual Worlds Research, 9(3). Meyer, J. H. F. and Land, R. (2006). Overcoming barriers to student understanding: Threshold concepts and troublesome knowledge. London: Routledge. Miles, M. B. and Huberman, A. M. (1984) Qualitative Data Analysis: A Source Book of New Methods, 2nd Edition, Beverly Hills, CA: Sage. Norman, D. (2010). Why Design Education Must Change. Core777. [Online]. 26 November 2010 [Accessed 26 August 2017] Available from: www.core77.com/blog/columns/why_design_education_must_change_17993.asp Pentaraki, A. and Burkholder, G.J., 2017. Emerging Evidence Regarding the Roles of Emotional, Behavioural, and Cognitive Aspects of Student Engagement in the Online Classroom. European Journal of Open, Distance and E-learning, 20(1). Rice, L. (2009). Playful learning. The Journal for Education in the Built Environment, 4 (2). pp. 94-108. Riebe, L., Roepen, D., Santarelli, B. and Marchioro, G. (2010). Teamwork: effectively teaching an employability skill. Education+ Training, 52(6/7), pp.528-539. Rieber, L.P., (1996). Seriously considering play: Designing interactive learning environments based on the blending of mi- croworlds, simulations, and games. Educational technology research and development, 44(2), pp.43-58. Rieber, L. P. (2001). Designing learning environments that excite serious play. In annual meeting of the Australasian Society for Computers in Learning in Tertiary Education, Melbourne, Australia. 2001, December. Schinske, J. and Tanner, K. (2014). Teaching more by grading less (or differently). CBE-Life Sciences Education, 13(2), pp.159-166. Tucker, R. ed. (2016). Collaboration and Student Engagement in Design Education. IGI Global. Tuckman, B.W. (1965) Developmental sequence in small groups. Psychological bulletin, 63(6), p.384. Tuckman, B.W. and Jensen, M.A.C., (1977). Stages of small-group development revisited. Group & Organization Stud- ies, 2(4), pp.419-427. Webb, J.D. and Miller, N.G. (2006). Some preparation required: The journey to successful studio collaboration. Journal of Interior Design, 31(2), pp.1-9. Vezzani, V., and Tang, T. (2014). Investigating the Potential of Design Jams to Enhance Sustainable Design Education. DS 81: Proceedings of NordDesign 2014, Espoo, Finland 27-29th August 2014.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 167 Three categories of design actions to reuse materials and waste - opportunities for designers at University of Minho

Paula Trigueiros a

a EAUM - Escola de Arquitetura da Universidade do Minho, Lab2PT- Laboratório de Paisagens, Património e Território, Guimarães, Portugal [email protected]

ABSTRACT

In this article we present some examples retrieved from Product Design degree at University of Minho (UM) that illustrate a concern with sustainability for the reuse of materials and waste. We propose three categories to design: (Eco) Design-Show: actions, performances and products aimed at sensitizing students and the community, Re-new (Design): mostly handcrafted products for restricted markets, reusing materials or parts of other products; and (New) Design: product design made with new, experimental materials, obtained from wastes. In addition to reflect upon pedagogical inputs of this theme, it is intended to discuss the relevance of designers' skills to promote innovation, complementing other research areas of UM. This paper is a personal reflection on how this may reinforce the potential and opportunistic decision of creating this degree in this industrial northern region, and aims to contribute to the history of young Product Design degree in UM.

Keywords: Reuse of materials, Waste, Eco-design, Design pedagogy, Product design.

INTRODUCTION

This article intends to gather some initiatives and pedagogic works on "waste" and eco design, carried out with students of the degree in Product Design of the University of Minho. This degree opened in University of Mi- nho, in 2012. This paper is therefore a contribution to witness an initial chapter of its history. For the first time in 2016-17, two undergraduate design students did their curricular 3rd year’s traineeship at the CVR (Centre for Valorisation of Waste, at University of Minho). This was the motto to organize some topics about the reuse of materials and waste throughout this graduation. Thinking on how to organize and relate those examples with existing cases, we propose three categories of initiatives, products and processes concerning their aims, scalability and their potential as opportunities of future product Designers. We call them: 1. (Eco) Design-Show 2. Re-new (Design) 3. (New) Design First we will explain and illustrate each one of proposed categories with international examples, and then present examples from briefs of different courses of Product Design Graduation at University of Minho.

DESCRIPTION AND EXAMPLES OF THE CATEGORIES

Category 1 - (Eco) Design-Show The first category includes activities, performances and initiatives with very diverse audiences. For example, in

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 168 Three categories of design actions to reuse materials and waste - opportunities for designers at University of Minho various fields of school education, from an early age, interesting works are carried out by reusing common materials, such as plastic, metal or paper packaging, among many other objects. But professional designers also make interesting creations with these materials. Usually this work results in initiatives for environmental awareness, thus fulfilling the main purpose of the work. These initiatives’ purposes end there - they fulfil their aims usually with an exhibition or performance more or less publicized, raising awareness among communities. One example is a sculpture of Nituniyo, with a shape of an elephant made from over 6,000 recycled paper tubes for Valencia’s Fallas Festival (Studio Nituniyo, 2015) (Figure 1- a) Designpack Gallery (Peltier, n.d.) showed an impressive selection of items made with wastes or reuse of packaging. We selected, among them, two different Christmas trees of Fabrice Peltier made of plastic bottles: one exposed in the street, another to build at home (Figure 1- b). This example goes a bit further, as it is already a product to bring at home, a product that lasts longer than the event.

a) Elephant made from over 6,000 recycled paper tubes, by Nituniyo

b) Christmas trees of Designpack Gallery: one exposed at the street, another to build at home

Figure 1- Examples to illustrate “(Eco) Design-Show” category

Design for the real world At the beginning of Design graduation the theme “sustainability” is part of curricular units “Design Theory” and “Project - Concept and Form”. In the first case, these matters are related to ethics and social responsibility of the designer. In the other, those contents are framed among practical exercises, concerning awareness for the reuse of materials, adopting a critical look at the physical and social context that surrounds the academy. A project brief called “Design for the real world” (based on the title of Papaneck’s book), challenged the 1st years’ students to transform newspapers and outdated schoolbooks into useful products. This work was carried out in groups of 4 to 6 students, and took place in the two first weeks of “Project- concept and form”. Each group, started by reading newspapers. Then, inspired by real stories from migrants and African communities of former Portuguese colonies, contextualise, justify and give meaning to a design proposal (aiming to reflect upon social role of designers in contemporary world). In practical classes, students produce prototypes, learning some of the properties of paper, and how to produce structures of adequate size that are resilient and that take advantage of the material (for example, its color, images or finishes). At the same time they discuss the theme of work: the social role of the designer. At the end of the two weeks of work, they are always happy to see that, together and with a definite purpose, they have been able to help solving a problem and create functional and interesting products! This feeling helps to confirm their will- Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 169 Paula Trigueiros ingness to study Product Design, and encourages the accomplishment of the following tasks – usually more abstract and demanding.

a) Shoes for migrants b) School bench c)Temporary bed

Figure 2 - Students' proposals made with newspapers and outdated books

Category 2 - Re-New (Design) The second category considers the creation and development of products for commercial purposes. In spite of that most of those are manufactured with little or no mechanical, chemical transformation, almost directly from materials resulting from wastes, industrial production surpluses or even parts or products at the end of it’s (first) life. Typically, this type of products is produced in a small scale. The commercial, and eventually artistic, value increases considering differentiation, unicity and quality of craftsmanship. Examples of this category could be Freitag’s products (Freitag, 2017) using out of use screens, they propose several models of bags and other products. Each product’s design takes advantage of printed colors and graphics, allowing customization. (Figure 3 - a) The chairs of Remi Tejo made with used clothes, can illustrate another type of products that fit in this category (Tejo, n.d.) (Figure 3 - b).

a) Freitag showing the origin of their backpacks’ colours b) Chairs of made of used clothes

Figure 3- Examples of Re-New (design) category

Eco-design course In the curriculum of the 3rd year of Product Design degree, there is an “Eco-design” course. This envisages giving the students a general overview on product development, considering aspects related with Eco-design. The final goal is promoting awareness of the importance of optimizing use of materials and technological processes for sustainability. The brief invites students to analyze the life cycle of some objects, and then propose and justify new applications for them. Students start choosing a product which, at the end of its useful life, may have a new type of use. This selection should be duly justified, on the basis of the benefit expected to be generated in relation to the end-of- life of the original product. In a second phase, a new product or set of products must be developed, which will reuse the original (or part of it). Finally, the initial expectations should be confirmed by making a quantitative analysis of the eco-environmental benefits resulting from the re-use of an original product (or part of it) in a new product. Here, two products are presented: the first proposes to reuse spoiled umbrellas to make a set of bags (Fig 4 a), and the other, reuses wastes from mousse socks’s production, turning it into domestic filters (Fig 4 b).1

1 Authors of examples of figure 4: a) J. Ferreira, J. Oliveira, R. Costa, R. Abreu, S. Fernandes, 2016; b) A.R. Pinto, B. Dourado, B. Guimarães, H. Gonçalves, J.Moreira, 2017.) Professors in charge of “Eco-design” course: Olga Carneiro, Teresa Amorim and Cândida Vilarinho. Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 170 Three categories of design actions to reuse materials and waste - opportunities for designers at University of Minho

These designs are just described and represented in a long report (not prototyped), detailing the way they address the aims of Eco design course, fostering original problem – by analyzing each of the materials and processes used to produce their proposed product, concerning new uses and benefits.

a) Bags from umbrellas b) Domestic filter, made with “mousse” socks

Figure 4 –Design proposals for Eco-design course, in the 3rd year of degree in Design, 2016-17

Category 3 - (New) Design The use of wastes for the production of new materials and compounds from industrial and urban waste presents another type of challenge. It is not just a matter of working on the objective appropriateness of the attributes of the material to the requirements of the products - perhaps by replacing the use of other existing, traditional materials. It's also about doing the reverse: look for new fields for application, develop and design products that also explore the symbolic, social and environmental potential of this category of new materials. The success of this combination of attributes in design proposals allows for regular, industrial production for a global market. The examples and principles adopted testify the important contribution of Design to waste recovery and the role it plays for innovation and sustainability in the future. The first example for illustrating this comes from “Corque design” (Mestre, n.d.): the puff String (Fig 5 - a)“is a playful seat taking to the limit the plastic and visual possibilities of rubber cork”, presented among a series of other innovative e contemporary products, basically made with wastes of Portuguese cork. Other example are Adidas shoes made of ocean plastic (Fig 5 - b). These are part of Parley’s A.I.R. Strategy about reducing plastics in the oceans: “Avoid, Intercept and Redesign”, associated to Adidas for “spinning the problem into a solution” (Adidas and Parley, 2017).

a) Puff “String” in rubber-cork b) Tennis Adidas made of ocean plastic (Adidas-Parley plan)

Figure 5 - Examples of category (New) Design

Curricular internships at CVR

In the end of Product Design graduation the students take a curricular internship - called “Project-Industry”. In 2016-17, for four months, two students did their internship at CVR (center for waste valorization). Both worked with new materials. First, they studied the new materials, in the laboratory. They observed and chose several samples, made of different proportion between components, as treated residues and binders. They studied the adequate production processes, in order to know the constraints to the design of a proposal, and finally, they created very simple drawings, to materialize a proposal of application of the new materials. Some small scaled

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 171 Paula Trigueiros prototypes were made, using different processes. The duration of this work was very short to complete the production and testing of students' projects. However, the realization of prototypes at the end of the stage allowed us to foresee many possibilities of evolution of this type of work, in which designers’ skills will play a very important role for the flow and useful application of these materials.

R. Ribeiro worked with mortars made of incineration of industrial wastes, and created a module for urban equipment (Figure 6 - Two student proposals for applying new materials made from wastea). J. Moreira made a small gift vase, with a polymeric material made of Chiclets. (Figure 6 - Two student proposals for applying new materials made from waste – b). Both were prototyped using and testing the intended materials.

a) Modular bench of lime mortars and geopolymers c) Vase on a polymeric material made with chiclets

Figure 6 - Two student proposals for applying new materials made from wastes

SYNTHESIS AND CONCLUSION

We believe that the proposed categories and structure may contribute to organizing the outcomes of design briefs and contents, concerning their pedagogical an innovative aims. In summary those categories are compared and presented in Table 1.

Pedagogic Added value to Category Aims Scalability Production Interest product design Ethics/Sensitize to (eco) just sustainability issues; Single use good low Design Show prototypes

Ecologic values, relative Re-new Technical knowledge Limited hand-crafted good (dependent on (design) Awareness craft skills) Taking good Advantage from materials (New) and costumers’ mass-production/ Multiple good high Design requirements. industrial use Sustainable innovation Differentiation Table 1- Synthesis of the categories

Gathering the examples presented we may underline three different strategies and initiatives that address waste reuse all over Design graduation at UM, both in a more theoretical and technical perspective, and as a practical design brief; together they aim at raising awareness and showing different references and ethical behavior concerning design and sustainability. This is a personal reflection, aware of the lack of scientific background on the subject. But the interest aroused by these first experiences strengthens the call for new players generating critical mass in research and innovation in this subject. Sharing the three categories proposed may allow for a fruitful discussion at the conference. The discussion can also contribute to networking, for a positive evolution of programs and results in a near future. On the other hand, this is still a young graduation with no previous internal design references and research Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 172 Three categories of design actions to reuse materials and waste - opportunities for designers at University of Minho on the subject. However, there are important resources available for future development of product design on sustainability, related to renowned research in UM, namely in CVR and other engineering labs. We believe it reinforces the opportunistic decision of creating this degree in this industrial, Portuguese region, complementing other research areas of UM.

Aknowledgments This work has the financial support of the Project Lab2PT – Landscapes, Heritage and Territory laboratory – AUR/04509 and FCT through national funds and , when applicable, of the FEDER co-financing, in the aim of the new partnership agreement PT2020 e COMPETE 2020 – POCI-01-0145-FEDER-0-7528

REFERENCES

Adidas and Parley. (2017). adidas and Parley. Retrieved 12 June 2017, from http://www.adidas.com/us/parley Freitag. (2017). https://www.freitag.ch/en/shop. Retrieved 7 June 2017, from https://www.freitag.ch/en/shop Mestre, A. (n.d.). PUF STRING | Corque Design. Retrieved 12 June 2017, from http://corquedesign.com/collection/puf- string/ Peltier, F. (n.d.). Designpack Gallery - Espace pour la promotion de l’Art du Design Packaging. Retrieved 12 June 2017, from http://www.designpackgallery.fr/ Studio Nituniyo. (2015). Nituniyo builds cardboard elephant from over 6,000 recycled paper tubes. Retrieved 7 June 2017, from http://inhabitat.com/nituniyo-builds-cardboard-elephant-from-over-6000-recycled-paper-tubes/ Tejo, R. (n.d.). ecolo deco design - eco design et recyclage. Retrieved 9 June 2017, from http://www.ecolodecodesign.fr/eco-design/

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 173 Metaphorical exhibitions between art and design: a mutual relationship beyond borders

Raffaella Trocchianesia , Letizia Bollinib, Marco Borsottic and Matteo Pirolad

a Dept. Design, Politecnico di Milano [email protected]

b Department of Psychology, University of Milano Bicocca [email protected]

c Dept DAStU, Politecnico di MIlano [email protected]

d Dept DAStU, Politecnico di MIlano [email protected]

ABSTRACT

The exhibition design has always been – among other design disciplines – one of the most innovative field of experimentation both for languages and projects improvement. The paper aims at studying the potential of art of being a metaphorical “tool” for the interior design approach both in terms of cultural exhibitions and installations. For this reason we present two groups of cases: cultural exhibitions designed by artists and artistic installations created by designers and architects. The relationship between the design approach and artistic installations can be seen in three dimensions of the design process: in exploring the theoretical meaning of the space (the art as a media to know novel vocations of spaces during the concept generation process); in experimenting the physical impact of the artifact in the space (the art as a matter of innovation during the verification of the project); in expressing innovative spatial concepts (the art as a “language” to communicate novel provocative and disruptive visions during the communication of the idea). In conclusion: we embrace the idea that art can be considered as a paradigmatic incubator in the process of “living” the Interiors. Starting from that, we are going to underline some methodological attitudes within the design culture in relation to the artistic research and to interpret new aesthetics.

Keywords: Exhibition design, Interior design, art, installation, metaphor

INTRODUCTION

The exhibition is one of the most fertile fields of the experimental design in its many cultural forms: theoretical, methodological and participatory and fits in law, the list of design disciplines more strongly linked to advanced forms of research. The discipline is an open workshop where groups of articulated design processes involve multi-disciplinary teams of professionals and designers and compare from issues rooted in theoretical reflections to give them practical solutions, often unpredictable at the beginning of the design process, which generate innovative cultural products, also in terms of progressive enhancement, opening up to new groups of users who propose compelling visions of a culture that moves beyond its borders. The exhibition has thus gradually become a borderline place, also becoming the contamination boundary

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 174 Raffaella Trocchianesi , Letizia Bollini, Marco Borsotti and Matteo Pirola with other cultures, such as those of digital technologies. A place of contact and ownership, through the performance and interaction of content, experiences, meanings and values given by the user that intersect the proposed narrative levels of the project, such as new levels of interpretation and reading paths. In the traditional discipline of interior design, the setting up represents an interesting place of design research, technical research for sure but also aesthetic, to investigate the contemporary “language”. To simplify, we could say that the designer designs settings, spaces which are representative of something else, while the artist designs installations, spaces which are self-representative. However, these two attitudes, these two disciplines of two possibly different professionals, the designer and the artist, share some contact points of intersection where it is no longer possible to separate art from design, regardless of whether the author of the work is an artist or a designer. We call these special spaces, that mainly awake sensations and contents, metaphorical spaces: places where space is transformed, translated; it becomes "something different" from its content (set up) otherwise space becomes the content itself (installation). And the metaphor, as one of the figures of speech, is one of those artifices of the language, even in space communication, aimed at creating a special effect, a transfer of meaning. The metaphor is interpretation, asking and seeking for interpretation

METAPHORICAL RELATIONSHIPS BETWEEN ART AND DESIGN IN ENVISIONING NEW MODELS OF CONCEPTUAL SPACES AND EXHIBITIONS

In this age of re-definition of disciplinary boundaries, some disciplines intertwine “languages” and exchange practices in order to experiment new ways to interpret contemporary issues. Herein it is investigated art as a potential metaphorical “tool” in the interior design approach. Here the metaphor -usually used as a figure of speech in the literary field- represents a way of communicating design concepts and moving conceptual models from a domain to another one. It represents a mental model for every artistic genre. It is a movement of affine meanings, it is an abbreviated and contextual knowledge (Weinrich 1976, De Angelis 2000). Therefore, with the expression “metaphorical space” we mean those artistic installations that express some values related to a specific kind of space using something figurative and symbolic in the place of another thing. The conceptual allegiance between design and art seems conducive to experimenting with new forms of collaboration that lead to the re-codification of process and content in the interior design field. According to Gombrich’s concept of “beholder’s share” (2001), art is incomplete without the perceptual and emotional involvement of the viewer and -in this case- the “inhabitant” of the conceptual space. This was a crucial subject of study by a contemporary generation of Viennese art historians. In their work, Kris and Gombrich both recognized the importance of contemporaneous schools of psychology and incorporated perceptive and emotional response into art criticism. The field of culture has a relative autonomy, but its boundaries are permeable, and it is in this permeabil- ity that it creates its compelling role within contemporary society. The challenge of the design approach is to intervene within these boundaries to rethink existing structures and develop new models of spaces. Furthermore, art and design offer important elements useful to understand both artistic installations, focused on representing contemporary forms of domestic spaces, and a multiplicity of meanings derived from them. In the design discipline these elements are interpretative tools that facilitate knowledge and the exchange of content, whereas in the art field, an “expressive key” allows for the understanding of new spatial experiences. From this follows the idea of “translation by design”: translating encompasses the action of interpretation and the expression of new metaphorical spaces. De Angelis (ibidem 2000) introduces this definition: the metaphor as a minimum unit of a story, it entails a specific time and space and it is able to intensify the dimensions of the object/content involved. She suggests an interesting distinction between narrative installation and metaphorical installation as well. This last one represents a deviation of the “language” and allows further connotations able to redirect the concept to another level of perception and to produce meanings non-existing before. Also for this reason the metaphor is an useful key to express interior spaces and architectural models, because it focuses on one specific image able to summarise the core of the idea. In particular, we can use metaphor in the interior design field both for reframing usual spatial concepts and framing, as well as making understandable, unusual ones. How can we use metaphor for this double goal? § Reframing usual spatial concepts: dramatising emotional qualities; reframing the functional experience; moving conceptual models from a domain to another one.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 175 Metaphorical exhibitions between art and design: a mutual relationship beyond borders

§ Framing and making understandable unusual spatial concepts: modeling the working principle; re- writing the idea with new languages and communication registers. Interior design has always drawn inspiration from art; indeed, several architects are both artists and designers and adopt a mixed attitude in creating objects and spaces. Herein we can underline some “trans- actions” that go beyond mere architectonical functions and try to interpret new domestic aesthetics. We embrace the idea that art can be considered a paradigmatic incubator in the process of “living” and “performing” the Interiors; starting from that, we try to underline some methodological attitudes the design culture uses in artistic research.

ARTISTIC INSTALLATIONS CREATED BY DESIGNERS

The relationship between design approach and artistic installations can be recognized in three dimensions of the design process: § in exploring the theoretical meaning of the space; § in experimenting the physical impact of the artifact in the space; § in expressing innovative spatial concepts. In the first dimension -exploring the theoretical meaning of the space- art is considered as a medium of knowing novel vocations of spaces during the concept generation process. In this case, designers take advantage of the artistic model in order to investigate the idea and its implications in the space. We can consider this kind of installation as some sort of semifinished work which is useful to go on with the development of the concept. In the second dimension -experimenting the physical impact of the artifact in the space- art represents the innovative factor during the verification of the project in the actual space. In this case the artistic installation is a way to “perform” new gestures, behaviours, functions and to envision new impacts in the reality. In the last dimension -expressing innovative spatial concepts- art is assumed as a “language” to communicate novel, provocative and disruptive visions during the communication of the idea. This means to exploit the potentials of art in triggering the process of creating new concepts of space that stage the Impossible, the Par- adoxical, the Utopic. This dimension is directed to the audience because it has a strong communicative vocation. We will try to extract some design attitudes able to answer to the previous questions by a selection of case studies chosen according to the following criteria: § recent projects (year 2016); § installations that represent “inhabitable” Interiors; § design driven approach; § installations presented in public exhibitions; For each case we will pinpoint the following entries: § short description; § method/method and guide-lines of the exhibition1; § metaphor; § paradigm of spatial experience.

International Architecture Exhibition Following are two cases (British and Switzerland Pavilions) from 15th International Architecture Exhibition (Venice 2016). It is not a coincidence that this kind of cultural event is rich of interesting examples because it is a privileged platform where to stage architectural topics through new forms of narrative that borrow “languages” and expressions from the art field. Herein the aim is showing future scenarios and experimental work- lines. At first we mention the British Pavilion exhibition Home economics. Five new models for domestic life2 that participates in responding to social changes through a design approach. It raises urgent issues about the role and responsibility of the domestic space in familiar life. This project represents five new models for do-

1 In the case of exhibitions with multiple installations, the entry “method” is related to the exhibition itself because the role of the curator is crucial in order to understand the design approach and it is called “method and guide-lines of the exhibition”. 2 https://www.britishcouncil.it/events/home-economics-padiglione-gran-bretagna

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 176 Raffaella Trocchianesi , Letizia Bollini, Marco Borsotti and Matteo Pirola mestic life according to five periods of time: hours, days, months, years and decades. The installation is full scale 1:1 and displays architectural proposals as a direct spatial experience. The topic of this work is the crisis of both housing and the ways of living in Britain. The conditions of life are profoundly changing because of social relationships, family structures, gender roles, migration flows and ageing population; therefore, this installation seeks to interpret this situation using the lens of timescales. This topic opens to some interesting issues: ownership vs sharing, private vs public, individual vs collective, permanent vs temporary, time vs space. Method: this research finds an applied experimentation in this installation. It is carried out by an interdisciplinary team made of architects, photographers, artists, writers, fashion designers and financial developers. All these competences collaborated in order to envision alternatives to the conventional domestic architecture. Metaphor: “Lens of timescale”. Each part of the installation formulates the main metaphor in secondary ones. Hours: Own nothing, share everything; Days: Home is where the Wi-Fi is; Months: A house without housework; Years: Space for living: not speculation; Decades: A room without functions. Paradigm of spatial experience: “Room by room”. The visitor follows intersections of a space that represents the “zooming out” and the “zooming in” of contemporary housing. The Switzerland Pavilion, hosts Incidental Space3 by Kerez, an architect and curator who has created an extremely impressive research area. Method: holistic design with some points of contact between manual execution and digital production. He tries to answer the question “how can you use the medium of architecture to contemplate an architectural space that is totally abstract and as complex as possible?” Metaphor: “Cave/Cloud”. Kerez produces a metaphorical space with perfectly matching double meaning: the ancestral idea of the cave (interior) and the futuristic idea of a cloud (exterior). Paradigm of spatial experience: “Exploration”. Both spaces can be experimented by visitors, who are invited to take possession of this revealed place.

Architecture as Art In the exhibition Architecture as Art4 (curated by Bassoli and directed by Nicolin, at the Pirelli Bicocca Hangar, see below Entrance and Bricolage projects) 14 professional studios have been asked to create a fragment of architecture freely interpreting new design paradigms related to primary gestures such as entering, covering, living. “We are talking about architecture, but we are displaying it as if it was art,” said Nicolin during the presentation of the exhibition which aims at providing “true” experiences to overcome the problem of displaying architecture through mediums that can not realistically represent space, such as drawings, photographs, models and video. Method and guide-lines of the exhibition: dual interpretation of architecture as art, with the formal and metaphorical experimentation of the technique and of the building material. Grasso Cannizzo creates Entrance, a cubic volume consisting of many vertical and suspended metal rods. At rest, this idea of architecture is a sculpture. Metaphor: "The sound threshold”. The theme of entering is interpreted here by a poetic atmosphere, the musical metaphor of the sound signal that announces the entering of a guest in any house. Paradigm of spatial experience: “Immersion”. The visitor is invited to interact with the work, to enter the cubic volume from anywhere, making his way with his own body, and then walk out from another place. The experience proves to be very strong from a physical point of view (because of the physical displacement by contact of the rods that are very close one to another) and from an acoustic point of view (because of the musical sound of the rods that resonate like oriental bells), and it does not involve only the individual visitor but the entire exhibition space and other visitors, because of the loud sound generated and of the interaction required by this work. Amateur Architecture with its Bricolage, a title playing with the meanings of the words of the technique and of the material used (brick and assembly), interprets the theme of the wall, a rising barrier that separates but also joins. By building a three-dimensional wall made just of bricks, cutting transversally the exhibition space but which can be walked through, deconstructed in some parts and almost embroidered in its texture,

3 https://prohelvetia.ch/it/dossier/biennali-venezia/ https://biennials.ch/home/BiennialDetail.aspx?BiennialId=74 4 http://www.triennale.org/mostra/architecture-as-art/ http://www.hangarbicocca.org/mostra/architecture-as-art/

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 177 Metaphorical exhibitions between art and design: a mutual relationship beyond borders the author investigates the potential of the most traditional building material, that is nowadays often abandoned. Metaphor: “The ruin”. The idea of using once again this element and these materials, certainly connected to the author’s living experience in China, offers, together with the metaphor of the ruin, a point of restart for a new regenerating architectural approach. Paradigm of spatial experience: “Crossing”. The visitor, by crossing a threshold, is given the possibility to walk for a few meters inside of a living wall.

Rooms. Other philosophies of living The exhibition Rooms. Other philosophies of living5 (of which we mention Intro, Resonance and D1), curated by Finessi with Cataluccio at the Palazzo dell'Arte of the Triennale in Milan is the occasion, after years of oblivion and rediscovering an ancient top-notch Italian tradition, to look once again at interior design as a place and discipline of integration between architecture, design and art. Method and guide-lines of the exhibition: 11 subjects are identified (analysed through a system of literary, sociological, filmic and artistic references with an interdisciplinary approach) acting as key elements to trigger thoughts and inspirations on suggested spatial metaphors. Novembre with Intro, displays a large sphere with an outside reflecting surface, whereas from the inside comes a speech taken from the movie “8 ½” by Fellini and from the book “design explained to my mother” by Novembre himself, which attracts us in a space covered with red leather. Here the designer makes the best out of all his aesthetic and sensual efforts, to design a room that opens unprecedented reflections between architecture and art, interior and bodies, to become more self-conscious. Metaphor: “Maternal womb/self-consciousness”. A room full of metaphors: from the mother's womb to self-consciousness, to the perfect shape in between a sphere and an ovoid. Paradigm of spatial experience: “Space Introspection”. The designer pushes the visitor to lay on a soft surface where he will realise to be inside a body, namely a head, an hypothetical mirror of himself. Anastasio, Resonances: a room that explores the relation potential of human beings, the "opportunity to affirm or deny the dimension of listening to ones own and to the other." The space is at first visible from the outside, through a window cut in two by a lace curtain, that moves away from the wall and enters space by articulating it and affecting the furnishing elements, which are literally divided into two equal parts, cut by this full height tent/diaphragm. Metaphor: “The Double”. Anastasio works on the metaphor of doubling, of living together as a couple, of living together as twins. Paradigm of spatial experience: “Shared private”. Interior personal space is shared with another life, another being, one’s double or one’s complementary. Librizzi, D1: an abstract room, made of three slender fences, diaphanous netted diaphragms, which are polychrome, which may be crossed and which surround a central empty space. Here space is concentrated and circulates on itself, revealing traces of relations among elements. The first enclosure represents the landscape/architecture relationship, the second identifies the interior space and the third determines the relational space between people and objects. Metaphor: “The first human room”. The idea is that of “the first man's room”, metaphor of the interior in the interior as a sacred space where the table is an inviolable altar around which all residents relate one another and live the house. Paradigm of spatial experience: “centralisation and circulation.” The visitor explores space through filters and diaphragms that tend to spatial concentricity and radial movement Method and guide-lines of the exhibition: dual interpretation of architecture as art, with the formal and metaphorical experimentation of the technique and of the building material Grasso Cannizzo creates Entrance, a cubic volume consisting of many vertical and suspended metal rods. At rest, this idea of architecture is a sculpture Metaphor: "The sound threshold”. The theme of entering is interpreted here by a poetic atmosphere, the musical metaphor of the sound signal that announces the entering of a guest in any house. Paradigm of spatial experience: "Immersion". The visitor is invited to interact with the work, to enter the cubic volume from anywhere, making his way with his own body, and then walk out from another place. The

5 http://www.triennale.org/mostra/stanze-altre-filosofie-dellabitare/ http://www.salonemilano.it/manifestazioni/eventi-appuntamenti/lista-eventi-del-salone/2016/stanze-nuovi-paesaggi- domestici.html Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 178 Raffaella Trocchianesi , Letizia Bollini, Marco Borsotti and Matteo Pirola experience proves to be very strong from a physical point of view (because of the physical displacement by contact of the rods that are very close one to another) and from an acoustic point of view (because of the musical sound of the rods that resonate like oriental bells), and it does not involve only the individual visitor but the entire exhibition space and other visitors, because of the loud sound generated and of the interaction required by this work. Amateur Architecture with its Bricolage, a title playing with the meanings of the words of the technique and of the material used (brick and assembly), interprets the theme of the wall, a rising barrier that separates but also joins. By building a three-dimensional wall made just of bricks, cutting transversally the exhibition space but which can be walked through, deconstructed in some parts and almost embroidered in its texture, the author investigates the potential of the most traditional building material, that is nowadays often abandoned. Metaphor: "The ruin”. The idea of using once again this element and these materials, certainly connected to the author’s living experience in China, offers, together with the metaphor of the ruin, a point of restart for a new regenerating architectural approach. Paradigm of spatial experience: "Crossing". The visitor, by crossing a threshold, is given the possibility to walk for a few meters inside of a living wall.

Rooms. Other philosophies of living The exhibition Rooms. Other philosophies of living6 (of which we mention Intro, Resonance and D1), curated by Finessi with Cataluccio at the Palazzo dell'Arte of the Triennale in Milan is the occasion, after years of oblivion and rediscovering an ancient top-notch Italian tradition, to look once again at interior design as a place and discipline of integration between architecture, design and art. Method and guide-lines of the exhibition: 11 subjects are identified (analysed through a system of literary, sociological, filmic and artistic references with an interdisciplinary approach) acting as key elements to trigger thoughts and inspirations on suggested spatial metaphors. Novembre with Intro, displays a large sphere with an outside reflecting surface, whereas from the inside comes a speech taken from the movie “8 ½” by Fellini and from the book "design explained to my mother" by Novembre himself, which attracts us in a space covered with red leather. Here the designer makes the best out of all his aesthetic and sensual efforts, to design a room that opens unprecedented reflections between architecture and art, interior and bodies, to become more self-conscious. Metaphor: "Maternal womb/self-consciousness". A room full of metaphors: from the mother's womb to self-consciousness, to the perfect shape in between a sphere and an ovoid. Paradigm of spatial experience: "Space Introspection". The designer pushes the visitor to lay on a soft surface where he will realise to be inside a body, namely a head, an hypothetical mirror of himself. Anastasio, Resonances: a room that explores the relation potential of human beings, the "opportunity to affirm or deny the dimension of listening to ones own and to the other." The space is at first visible from the outside, through a window cut in two by a lace curtain, that moves away from the wall and enters space by articulating it and affecting the furnishing elements, which are literally divided into two equal parts, cut by this full height tent/diaphragm. Metaphor: "The Double". Anastasio works on the metaphor of doubling, of living together as a couple, of living together as twins. Paradigm of spatial experience: "Shared private". Interior personal space is shared with another life, another being, one’s double or one’s complementary. Librizzi, D1: an abstract room, made of three slender fences, diaphanous netted diaphragms, which are polychrome, which may be crossed and which surround a central empty space. Here space is concentrated and circulates on itself, revealing traces of relations among elements. The first enclosure represents the landscape/architecture relationship, the second identifies the interior space and the third determines the relational space between people and objects. Metaphor: "The first human room". The idea is that of "the first man's room", metaphor of the interior in the interior as a sacred space where the table is an inviolable altar around which all residents relate one another and live the house.

6 http://www.triennale.org/mostra/stanze-altre-filosofie-dellabitare/ http://www.salonemilano.it/manifestazioni/eventi-appuntamenti/lista-eventi-del-salone/2016/stanze-nuovi-paesaggi- domestici.html Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 179 Metaphorical exhibitions between art and design: a mutual relationship beyond borders

Paradigm of spatial experience: "centralisation and circulation." The visitor explores space through filters and diaphragms that tend to spatial concentricity and radial movement.

Domestic Dimension Last but not least, we point out the exhibition Domestic Dimension7, curated by Finessi at Fondazione Achille Castiglioni, where the historic space of "The Living Environment" designed by Achille and Pier Giacomo Castiglioni for the exhibition "Colours and shapes in today’s home", presented at Villa Olmo, Como, in 1957, has been staged again. Method: the visual perception as a key of reinterpreting the space. Metaphor: "The optical chamber". Here the Castiglioni brothers have deformed space into a trapezoidal shape, a metaphor of the optical chamber obtained by obstructing the visual projection, which emphasises the quantity and quality of existing furnishings and accessories, including famous designers’ objects, historical, prototypes or anonymous, in an interior space that represented the new increasingly complex society. Paradigm of spatial experience: "The view from the outside". The environment can be observed only from the outside through a large opening or through a small door that visitors are invited to open. From these two points of view you look directly at the future of housing, the future at that time which is now, that from that moment on ceased to be in "style", setting a new contemporary language.

EXHIBITIONS DESIGNED BY ARTISTS

From the interweaving of history and everyday life come for the exhibition design and the museum institution concrete opportunities of social innovation, which radically altered the usual practices, destabilizing the typical relationship among the museum as institution, scientific and cultural referent as curator, designer as interpretative performer and audience as the final user. Due to the insights born mainly in the intersections between literature and art, the story-telling, triggered by the attribution of value in relation to choses demand to curators and designers a conscious opening towards the audience co-participation. The following cases represent exhibitions lead by an artistic approach where the specific, personal mark of the artist involved reveals his/her sensitivity and style.

Les Archives du Cœur by Christian Boltanski, Teshima Boltanski has devoted his artistic research to identify the detection of human memory signs forms, represented into shifted depictions, characterized by the presence of telltale signs, taken from daily life to which these objects belong (clothes, telephone books, photographs etc.). The humanity that he’s interested in is made of a normality dense stories. “My installations are monuments to those to whom no one ever dedicated a monument to the common people. I try to keep the small daily memory of these people, made up of photographs, objects, such as cookies boxes. Everyone has the right to be remembered.” (Gambero, 2009). At Teshima, Japanese island of the Inland Sea, within the Benesse Art Site Naoshima, a territorial museum- system it’s possible to visit, such as a sort of voluntary pilgrimage looking for a personal and collective memory, a small building nearby the sea, Les archives du cœur, which houses thousands of recordings of ordinary people heartbeats, world-wide recorded since 2008 and carefully classified. Hence the idea of art installation evolves into the configuration of an innovative audio-sensory museum where the heart rhythm, a vital necessity, becomes a representation of the essence of our being human, through those tracks recorded that here become testimonials forever perpetuated. “The beat of the heart is the ultimate symbol of human ‘life’. I had a desire to make an album, but instead of photographs, fill it with heartbeats. While indicating that everyone is part of the same family, this also expresses the intrinsic fact that no two people are the same. [...] What’s important is the spirit of transmission. People only come back to life in other people’s memories.” (Boltansky, 2013).

Confessions by Candy Chang, Las Vegas One of the most interesting experiments that explores the individual and social dimensions of so-called collective wisdom, is the exhibition Confessions held at the P3 Studio Gallery in Las Vegas in 2012, designed by

7 http://fondazioneachillecastiglioni.it/dimensione-domestica/ Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 180 Raffaella Trocchianesi , Letizia Bollini, Marco Borsotti and Matteo Pirola the urban activist and artist Candy Chang. A performative, participatory and intimate performance at the same time, in which the public, artist and script are intertwined, building the message of the exposition. The people writing their own secret thoughts –the confessions collected are more than 1,500– construct the narrative unsaid plot that becomes explicit and public in the exhibition. The artist then interprets the confessions transcribing them, giving them, a form that increases visibility and a flow of thoughts annotated by visitors/authors on small rectangles of wood, which constitute the narrative exhibition structure. Confessions selected by the artist undergoing manipulation of the typical ostensible exhibition design and create a sort of amplification, real and conceptual part of the intimate, deep, thoughtful, unspoken of life of the people participating in the project. They become so simultaneously authors and objects, representatives and representatives of the artistic voice that gives them personal and anonymous. Confessions builds a dynamic balance that borrows the most innovative aspects of social media and web 2.0 community and re-mediated it in a designed gesture where the artist is medium and interpreter, not the author, of the co-creation made by users.

The Museum of Innocence by Orhan Pamuk, Istanbul The literary passion for objects as emotional and historical evocator –that in Perec remained on paper– becomes for Pamuk a concrete experience: the Museum of Innocence, where writing and exhibition project are indissolubly interconnected. Pamuk takes over the years, in a long time and according to a clear abstract idea, but unaware of the outcome, with an original path that weaves to contract a museum made out by common objects of his city, Istanbul, the simultaneous writing of the museum catalog, written as novel. A sort of logical and timing bump, where containers and contents are meant thanks to the double ordering structure of writing and exposure. The Museum of Innocence is a real museum, universally known by its literary homologous (Pamuk, 2008): a place that tells a story, made understandable by the exposed objects that illustrate the real life making understandable the history of a city and its inhabitants. “There is of course a strong relationship that holds together the novel and the museum: both are the result of my imagination, dreamed up word after word, object after object, photograph after photograph, for a long period of time. [...] The objects exhibited in the museum correspond to those described in the novel. However, there is a gulf between words and things, between the images that words can evoke in our minds and memories that an old object we were using a long time ago can bring us back to memory [...] The museum is not an illustration of the novel and the graphic novel is not an explanation of the museum.” (Pamuk, 2012, p. 18).

The Museum of Broken Relationships by Olinka Vištica e Dražen Grubišić, Zagabria The end of love is a traumatic moment in people life, but it’s also a universal experience. From the awareness of this personal and collective situation, comes the project of the artists Vištica and Grubišić, who decid to collect items survived to split-ups in a museum that “offers a chance to overcome an emotional collapse through creation: by contributing to the Museum’s collection.”8 The museum therefore shows trivial objects which donations implements the collection, even through the many traveling exhibitions held abroad. These objects find sense, despite their apparent randomness, in their common emotional origin, creating a universal feelings portrait, unexpectedly logical and understandable. The audience acts here as a collector and assumes the role of virtual museum curator, contributing in an exclusive manner to the creation of its contents, in an act of collective participation that triggers the principle of belonging. This destabilizing approach, where participation is the project reason, was awarded in 2011 with the EMF Kenneth Hudson Award, on the grounds that “the Museum of Broken Relationships encourages discussion and reflection not only on the fragility of human relationships but also on the political, social and cultural circumstances surrounding the stories being told. The museum respects the audience capacity for understanding wider historical, social issues inherent to different cultures and identities and provides a catharsis for donors on a more personal level.”9

8 Museum of Broken relationship: brokenship.com/en/about 9 Museum of Broken relationship, news: com/en/news/we_won_emf_kenneth_hudson_award_2011 Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 181 Metaphorical exhibitions between art and design: a mutual relationship beyond borders

CONCLUSION

Further more museums and exhibitions are changing their social and cultural role, renewing themselves through the research and new design perspectives, overlapping their traditional institutional tasks to new dynamics of conversation with a territory that question and investigate stimulating interaction. In taking this road, it is growing up a conceptual and methodological renewal of the idea of exhibition project always more an expression of the hybridisation between art and design. An innovation for the exhibition design that requires an ever more active role, where are reinvented its profiles of utility and use of material goods and organizational infrastructure, to strengthen the fundamental role of the cultural offer in contemporary society. The "use" of the art in envisioning new concepts of Interiors is a historical issue but is nowadays becoming more and more significant because it explores new contemporary registers and copes with new spatial frictions. We can pinpoint five main actions that lead the designers in conceptualising and giving shape to these installations and exhibitions: § exaggerating meanings; § provoking strong reactions; § stressing design attitudes; § triggering new uses of the space; § suggesting new behaviours. This kind of analysis and the metadesign approach envisage an interdisciplinary hybridisation between art and design, visual perception and architecture. We can pinpoint virtuous relationships that lead to new possible critical readings where artistic installations and exhibitions are not only expressions of art and museogra- phy but also crucial matter of design.

REFERENCES

Boltansky, C. (2013). Les Archives du Cœur. Booklet. Naoshima, Japan: Fukutake Foundation. De Angelis, V. (2000). Arte e linguaggio nell’era elettronica. [Art and Language in the Age of Electronics]. Milan, Italy: Bruno Mondadori. Gambero, F. (2009, December 17). Colloquio con Christian Boltanski, Espresso. Retrieved Janury 4, 2014 from espresso.repubblica.it/visioni/cultura/2009/12/17/news/emozione-boltanski-1.17429. Gombrich, E. H. (2001). A cavallo di un manico di scopa. [Meditations on a Hobby Horse and Other Essays on the Theory of Art]. Milan, Italy: Electa-Leonardo Arte. Pamuk, O. (2008). Masumiyet müzesi. Istanbul, Turkey: Iletişim. Pamuk, O. (2012). L’innocenza degli oggetti. Il museo dell’innocenza, Istanbul. Torino, Italy: Einaudi. Weinrich, H. (2014). Metafora e menzogna. Sulla serenità dell’arte. [Metaphor and lie. About serenity of the art]. Bologna, Italy: Il Mulino.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 182 The “Neurath Problem” as an Example of the Glitches Raised in Design Education by the Dominant Historical Narratives. The Mystics of the Myth, Part II.

Gonçalo Falcão

Universidade de Lisboa, Faculdade de Arquitetura, CIUAD [email protected]

ABSTRACT

2008 was celebrated in Spain as the centennial year of the invention of the brand. Argentina also boarded in the movement and celebrated it. The word was that the brands started in 1908, in Germany with AEG brand discourse created by Peter Behrens and Otto Neurath. The original message was created in Spain, most likely by Juan Costa; the claim was that the brand conscience - a company’s global language and discourse from the logo to the buildings – was invented in 1908 by AEG with the work of Peter Behrens and Otto Neurath. This is an excellent example of the type of mystification that is imposed to communication’s design history through a narrative that is still highly influenced by the (bad) history of art methods. From newspapers to books (in Span- ish and in Portuguese) the claim spread through the academic context and it’s not difficult to find online master thesis that say that AEG design programme was done by Behrens and Neurath (which is obviously false). This paper studies the “Neurath problem” and connects it with a broader idea of design mystifications in an effort not to bring some factual data to the academic world about this issue (trying to balance with the viral spread of the Neurath tale) but mainly to address the problem of the persistence of this “gourmet” narrative (great works/great names) in the education of a designer.

Keywords: History of Communication Design, Peter Behrens, Otto Neurath, AEG

INTRODUCTION

Problems in the dominant narratives of communication design were first raised by Clive Dilnot in 1987 and since then have been a fairly debated by several authors. This debate has not always been productive because most of the historians recognize the problems but they keep building their narratives over the same historiographical model. Sectorial studies are contributing to the deepening of the initial information, but there has been little consensus on the need to review the present information. This raises problems in design education; for example: we talk about social design in project and in history we use the “gourmet” objects discourse: great works/great names. Many of the statements on which the dominant historiographic discourses in the design of communication are structured need to be checked and evaluated. This paper addresses one of these cases and tries to bring a new look at its mythology (proven through the importance it assumes in the current narratives of communication design). Doing so it concludes for a need to have a different approach to design history education since it will affect the perception of the design profession.

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 175 Gonçalo Falcão

METHODOLOGY

Through the case study and the review of literature it is possible to prove that the academic “truth” being thrusted in Portugal, Spain and Argentina about the role of Otto Neurath (1882-1945) in AEG’s brand discourse is incorrect. Doing so we will show how so many assumptions build by the first historians are now revised in fact but not in practice and the history of communication design is still being passed to our students through these first narratives.

CONTEXT: GERMANY IN THE TURN OF THE CENTURY IN GRAPHIC ARTS

In 1871, with the end of the Franco-Prussian War, a group of nation-states was grouped as the second German Empire with borders that lasted till 1945. The printing tradition was highly valuable in this region since Germany claimed to be the birth place of the movable type, developed around 1450 by Gutenberg. As Jeremy Aynsley (2000) very well recalls, he developed his experiments while in exile in Salzburg, today Austria). In late XIX century, France and England were countries much more developed – graphically speaking – than Germany, still very attached to the Gothic Language. “Germany could not make great claims for artistic invention and originality (…) Germany styles were considered to follow rather than lead” (Aynsley, 2000, p. 17). The need for affirmation of a national identity was probably one of the factors that made the use of retroactive imagery and typefaces so popular. As Aynsley points out, in the turn of the century Germany was still using gothic typefaces for communication. German foundries had three types of designs in production: “revisions of the 15th and 16th century Roman designs were generically called Antiqua. New Blackletter designs under two main kinds, Scwabacher and Fraktur (…) Thirdly, newly conceived “germanicized” Roman scripts”. (Aynsley, 2000, p.18). A clear example of this last group was Peter Behrens Schrift. A hybrid alphabet engraved by the Klingspor foundry in 1901 that attempted to merge the Fraktur and Latin letter styles. England was, at this point, reforming typography with a re-reading of the Renaissance sources and “the next generation of English Designers [note: after Morris], including Walter Crane, Anna Simons and Edward Johnston, visited Germany in the 1900’s, often meeting their counterparts, exhibiting work and extending the message of reform.”(Aynsley, 2000, p.31). The British influence was felt and led to small German movement promoting artistic manufacture. Kathryn Heisinger cited by Aynsley and Susan Engelhard agree that German Arts & Crafts appropriation did not include the socialist attitude, and was more a combination of artistic ideals with marketable effectiveness. Mechanization was “taking command” and Germany was in an accelerated growth and prosperity. The “Berliner Tageblatt” newspaper of 28 July 19o7 publicized the contract between the Allgemeine Elektrizitäts-Gesellschaft (AEG) and Peter Behrens (1868-1940). He’s first task was to redesign the company’s newspaper, according to Tillmann Buddensieg and Hans Georg Pfeiffer (“Peter Behrens: Wer aber will sagen, was Schönheit sei?”) cited by Aynsley (200, p. 65-66).

OTTO NEURATH AND AEG…?

Reading Teresa Carvalho master thesis while preparing myself for the argument in her final examination (2016) I have encountered this sentence (free translation): “In 1907, the visionary businessman Emil Rathenau, director of the German company AEG, hired Peter Behrens and Otto Neurath and build the first team of image consultors.” (p.12). Astonished by this super-team formation in AEG (1909-1911), and the reference to it in a master thesis, I went to search for Carvalho references that backed up this sentence. I’ve find out that that she was well academically safeguarded in a reference book about brands, paraphrasing Daniel Raposo’s book “Design for Identity and Corporate Image” (“Design de Identidade e Imagem Corporativa”, 2008) where one can read (free translation): “In 1908, Henry Ford implemented the division of work in the assembly line. In an awkward way and almost like moving backwards, Peter Behrens and Otto Neurath make the first team of image consulting with a sociological perspective when they work together, in the same year, for AEG, the German company.” (Raposo, 2008, p. 80).

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 176 The “Neurath Problem” as an Example of the Glitches Raised in Design Education by the Dominant Historical Narratives. The Mystics of the Myth, Part II.

I wrote to Raposo to try to find out how did he came to that conclusion and he said he was just paraphrasing from another book, this time from one of the main Spanish references in branding and corporate identity: Joan Costa. Costa has his own institute (joancostainstitute.com) with free downloadable papers about corporate image, infographics and other themes. Publishing sometimes three books per year, Joan Costa has been writing about visual identity since 1977 and has been spreading this idea about Otto Neurath and AEG in his writings since 1992 (Identidad Corporativa y Estrategia de Empresa, 1ª edition 1992, La Crujía editions, Buenos Aires). So it is now well spread in the Spanish speaking world and also in Portugal thru Raposo’s excellent book. It’s impossible, reading the Neurath biographies available (Cartwright, Cat, Fleck, & Uebel, 2008; Symons, Pombo, & Torres, 2011; Hartmann & Bauer, 2006; Symons et al., 2011), to believe in this idea from Costa, and even more in the suggested dates (1909-11). Otto Neurath never worked to AEG. Certainly not in the period suggested by Costa (he was finishing his Phd and his first wife died in 1911 while giving birth to their son) or any other time in Neurath’s live. So, we asked Mr. Costa how could he make such an improbable statement. The answer arrived by e-mail (Costa, 2016), and re-stated that Otto Neurath was hired as a sociologist for the “human relations” of AEG with the exterior and society in general. We insisted and asked him about the references he was using to make such a claim, because we couldn’t find any. There is no register whatsoever about Mr. Neurath employment in AEG or having any sort of involvement or contract with the German industry colossus. The answer received from mr. Costa to my question even added more data to this story, referring to a conversation between Emil Ratheneau and AEG’s board of directors (even if the conversation had occurred would it be probably Walter, Emil’s son, that was leading the company in this period) that were questioning him about these agreements with Behrens and Neurath, because they thought that they were unproductive. According to Costa, Emil stood for his choice and confirmed the contracts because he thought they were fundamental to the company… (according to Aynsley the agreement started with small tasks and the board of the company went on expanding Behrens functions and powers as they were pleased with the results (Aynsley, 2000, p. 66). This dialogue conveyed by Costa in his e-mail answer deepen the mystery, not only it sounded highly doubtful as it could be known only by a direct chronicling of someone present at the meeting (written documents from the war periods from AEG are scarce). This AEG problem has developed from a motivation to connect the Behrens work to a starting point in a brand culture in a company that goes from the typeface to the building. Further on this paper we will try to explain why is Behrens so important to the dominant historical narratives on graphic design, but while doing so it is not our intention to diminish the role of Peter Behrens in graphic design. We recognize his effort and ground-breaking role, not only to move away from the traditional German blackletter (design of the “Behrens” typeface cut by the Klingspor foundry of Offenbach am Main in 1901) but also on a effort to clean the Art Nouveau language not only in advertising (ex: Tachometer advertising, about 1908) or the exterior of the AEG showroom in Berlin, around 1910.

GERMAN BRANDING PIONEER: WILHELM DEFFKE

While trying to find a reference in creating branding programmes in this period and geography, another name immediately comes to the forefront: Wilhelm Deffke (1887-1950); He joined forces with his colleague Carl Ernst Hinkefuus (that he met while working on Otto Elsner’s printing shop) and opened one of the first advertising agency’s in Germany in 1915. So any historian would have to consider Deffke conscious and systematic approach in branding and balance it with Behrnens output in this specific area. Deffke had realise the power and future of his enterprise while working with Peter Behrens as an artistic associate in 1909/1910 in Potsdam-Neubabelsberg studio. It was there, at Behrens workshop, that he “cut his teeth”. Later, in 1915 after being discharged from military service (after being wouned) Deffke will launch his company – Wilhelmwerk – to became one of the first and most important brand designers of Germany and Europe, maker of iconic german brands (ex: Zwillingsmarke), still in use today and for their global communication, from packaging to storefront.

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 177 Gonçalo Falcão

Deffke was born in 1887 and start working in 1901 in his hometown, a heavily industrialized Wuppertal, drawing patterns in Ernst Meckenstock´s studio (Breuer, Bröhan, Brüning, Dorén, & Eisold, 2014). Was hired to work at Behrens office in Neubabelsberg on the 1st of February 1909 and remained for 13 months (Breuer et al., 2014, p. 16). He wrote about it in 1945 in a seven page typed curriculum vitae: “independent artistic member of staff for graphic art, figural composition, and architecture… including designing all the AEG advertising materials and the joint development of larger exhibition projects in cooperation with two assistants working there at the same time, Gropius and Mies van der Rohe, the later directors of Bauhaus” (Engelhard, 2014, p. 32). Although it is not exactly clear which work was done inside Behrens’s AEG studio by Deffke (some prospectus and stage design are known by sure to have been designed by him) the expression “including designing all the AEG advertising materials” is a strong evidence of the influence of Deffke in the definition of AEG’s Image at this year. It is also most likely that Deffke must have had some supervision – and probably direct style influence from Behrens - since there is a shift in his style that becomes more geometric and less “batik” and decorative since he enters the AEG studio. Deffke work for a great number of German industries of his time. Uncredited but also important is his (unintended?) work for the Nazi totalitarian state. Although Hitler claimed the authorship of the Nazi brand - as part of the myth of the artist that goes into politics to relieve German from suffering – we should now considere that he used the stylized version of the swastika from Wilhelmwerk. “In the 1960s, Deffke’s former assistant wrote in a letter to the designer Paul Rand: ‘[Deffke] came across a representation of the ancient Germanic sun wheel on which he worked to redefine and stylize its shape. Later on this symbol appeared in a brochure which he had published; [the Nazis] chose it as their symbol but reversed it….Needless to say, this was done without any thought of copyright or compensation’” (Heller, 2008, p. 23)

CONCLUSIONS

A story of AEG that could integrate all the company’s communication and graphic design is still to be done. The company started in 1882, when Emil Rathenau obtained licences to use some of Thomas Edison's lamp, and it was a huge company in 1907, with factories in different cities, when before Peter Behrens designed the Turbinenfabrik in 1909, and other 5 industrial buildings (Maschinenfabrik Brunnenstrasse, Apparatewerk Ackerstrass, Kabelwerk Oberspree, Transformatoren-werk Oberspree, Glühlampenfabrik Moabit), several business (ex: Electricity production and distribution, trams, radio [a merge between AEG and Siemens named Telefunken], power engineering, steam turbines, automobiles, cables, electric appliances), and products (ex: hairdryer in 1900, public lightning lamps in 1907-8, and kettle in 1910). So first of all let us make clear we are not suggesting that Behrens influence was just a detail (even because Behrens studio made some communication to promote the electric appliances (more catalogues than advertising) which might have had important public impact; but the claim for transforming the company image should be balanced with a clearer view of the company’s global output. It’s not easy to find a formal or stylistic connection between the turbine factory and the prospectus for the AEG turbine (“Turbo Angetriehne Hilfsmaschinen”) most likely designed by William Deffke inside Behrens studio and with his supervision in 1910, still in an Art Deco language. Behrens designed a typeface (“Behrens Schrift und Zierat” for Klingspor foundry, [Aynsley, 2000, p. 63])and used it in AEG’s brochures; and that the typeface had a transitional feeling to it, trying to move away from blackletter to a more commercial and geometric art noveau style. Historians have found appealing to acknowledge a coherence in a visual language that goes from brochures to products and buildings: “The combination of visual form, working method, and functional concern in his work for AEG products enabled him to produce a body of work that has led some to proclaim Behrens the first industrial designer” says Meggs in 2012 (Meggs & Purvis, 2012), while his words in the first edition of the same book, from 1983, were “He is considered to be the first known industrial designer” (Meggs, 1983). Strange in both versions the fact that Meggs does not assume the sentence as his one and says that “some proclaim” or “he is considered”. Who are these proclaimers we do not know? So Meggs is probably the starting point of this myth of Behrens as a men with a clear and transversal view of the company’s image and communication. Pevsner (Pevsner, [1960] 1975) talks about this transversal work from the building to the objects but does not attribute to Behrens the founding responsibility for the image and communication, although he makes some references about a printed page in 1901 (Pevsner, [1960] 1975, p. 202).

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 178 The “Neurath Problem” as an Example of the Glitches Raised in Design Education by the Dominant Historical Narratives. The Mystics of the Myth, Part II.

German started late in designing with a mass production spirit and Britain was ahead from early on. Let us not forget that in 1896 the Prussian government sent Hermann Muthesius as a “taste spy” to England to try to understand and copy the British example. Industrial design teaching was a result of Muthesius recommendations. Starting late does not mean Germany could not lead or revolutionize graphic or product design. But we have to have this in mind before getting to enthusiastic with AEG’s forerunner role in design history, so this AEG claim is part of the goodwill - from certain professionals and theorists - to create a starting point, a birthplace for the contemporary idea of branding. The Coca-cola brand comes from 1886, Nestlé 1868 (still in use, the nest with two birds, almost with the same drawing), and several other brands from the beginning of 1900 that build upon the idea of a brand with a logo (ex: Kellogg’s) or images (ex. Shell). Nestlé is making advertising in Portugal in Raphael Bordallo Pinheiro’s magazine in 1887 and saying to the consumer to prefer the wheat from “Henrique Nestlé” that can be identified by the nest brand. The idea of putting AEG as the birthplace of branding seems to be convenient since Peter Behrens was Walter Gropius and Mies van der Rohe patron and they will later lead the Bauhaus school; also, because he later used a graphic language that conveys with the idea of modern design that the dominant historical narratives now celebrate. Unlike Coca- Cola image, drawn in a disturbed script, Nestlé with a realistic drawing of a nest with two small birds and General Electric in a decorative script (all of them designed before AEG and still in use today), AEG’s 1908 and 19012 brands (5th and 6th AEG’s logos) are geometric, undecorated, reductionist. They move away from the fluid letter designs that Peter Behrens assumed for his first logo attempt in 1900. And this is the kind of thing that history is looking for to value a certain group of ideas that became celebrated as good design between 1950 and 1970. The AEG/Neurath case show how much there is to do in the survey of dominant historical narratives in communication design and how easy is to maintain a false claim for so long within academy and how easy it is for it to spread in the academic milieu from the moment it enters the first master or PhD thesis. Part of this problem would be solved if we moved away from the historiographic model (derived from history of art) on which we are still building design history. Great works and great names, with all the mythification that this model implies, is not the best way to tell history of design, and we need to make a better effort to use other historiographical models. It’s urgent to re-historicize design, rehearsing a different historiographical. By valuing history, the whole history and not just that of “gourmet objects” (Fallan, 2010) - exclusive, luxurious or futile - we contribute better to a history that is useful to today’s practitioners and aspirants. We expect to rapidly be able to contribute with a new model.

REFERENCES

Aynsley, J. (2000). Graphic Design In Germany 1890-1945 (1a). London: Thames & Hudson. Breuer, G., Bröhan, T., Brüning, U., Dorén, P., & Eisold, N. (2014). Wilhelm Deffke, Pioneer of the Modern Logo. (Brönan Design Foundation, Ed.) (1a). Berlin: Scheidegger & Spiess. Cartwright, N., Cat, J., Fleck, L., & Uebel, T. (2008). Otto Neurath: Philosophy Between Science and Politics. Cambridge: Cambridge University Press. Drucker, J., & McVarish, E. (2009). Graphic design history: a critical guide. New Jersey: Pearson, Prentice Hall. Engelhard, S. (2014). Developing Talents, Wilhelm Deffke’s Early Years In Berlim (1909-1914). In Wilhelm Deffke, Pioneer Of The Modern Logo (1a, pp. 32–74). Berlin: Scheidegger & Spiess. Eskilson, S. J. (2007). Graphic design, a new history (1a). London: Laurence King. Fallan, K. (2010). Design History, Understanding Theory And Method. Oxford: Berg Publishers. Hartmann, F., & Bauer, E. (2006). Bildersprache Otto Neurath Visualisierungen. Wiener Universitätsverlag. Heller, S. (2008). Irons Fists: Branding The 20th Century Totalitarian State (1a). London: Phaidon Press. Hollis, R. (2002). Graphic Design: A Concise History (2.a ed.). London: Thames & Hudson. Margolin, V. (2015). World History Of Design (1a, Vol. 2). London and New York: Bloomsbury Academic. Meggs, P. (1983). A History Of Graphic Design (1a). New York: Van Nostrand Reinhold. Meggs, P., & Purvis, A. (2012). Meggs’ History of Graphic Design (5a). Hoboken: Wiley. Pevsner, N. (1975). Os Pioneiros do Design Moderno (2a). Lisboa: Ulisseia. Raposo, D. (2008). Design de Identidade e Imagem Corporativa. Branding, história da marca, gestão a marca, identidade visual corporativa. (1a). Castelo Branco: Castelo Branco: Edições IPCB. Symons, J., Pombo, O., & Torres, J. M. (Eds.). (2011). Otto Neurath and the Unity of Science. Dordrecht: Springer Sci- ence+Business Media

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 179 Festivities posters of the Canary Islands

Noa Real García

Department of Fine Arts Universidad de La Laguna, Canary Islands, Spain [email protected]

ABSTRACT

Since the beginnings of the 21st century the historiography tendency has been to question the origins and to The printing press was introduced in the Canaries in the middle of the eighteenth century, and at that time in the Peninsula had already printed three centuries and there were at least six cities in Spanish America that had typographic workshops, and it was in 1751 when it was established in Santa Cruz de Tenerife, the first Canarian press research into the design from the outside. An example of this tendency is the International Committee on Design History and Studies (ICDHS)1, which is a group of researchers that, since 1999, has been developing several congresses around the world. In this congresses they explain the design history from a version that is not the commonly accepted one. This accepted version inherits, for example, from the critical theorist Nikolaus Pevsner’s studies, Pioneers of the Modern Movement2. The Canary Islands, have always been, since the start of the first boat trips, an exceptional location for refuelling and visiting. For this reason, these remote islands have a very important role to play in the evolution and development of the modern design. This is because of their rationalist architecture, their importance in the international movement of abstract art, even because of organization of the first surrealist exposition in 1935. All of these reasons affected the graphic design in the islands, and gave place to a very significant source of illustrators, caricaturists and graphic designers who found in the posters’ design their preferred method of expression.

Keywords: Tourist posters, Canary Islands, design management, Carnival of Santa Cruz de Tenerife, evolution of the posters

INTRODUCTION

The poster has been used as a resource for the promotion of the Canary Islands and has evolved beyond the borders at a different pace than the rest of European countries. This is due to the great importance of the tourist industry in the islands and the large number of parties that take place in them, many of which are used as a resource for tourism. The Currently, Canary Islands have a huge number of celebrations declared by the Span- ish state as of tourist interest, of National Tourist Interest and even the Carnival of Santa Cruz de Tenerife which has the title of International Tourist Interest. In order to better understand how the festivities posters of the Canary Islands have changed and have become what they are today, a brief historical review will be followed, which will help to explain more easily the evolution suffered in the posters of the islands.

1 ICDHS website: http://www.ub.edu/gracmon/icdhs 2 Key piece and indispensable document to understand and to interpret the birth and the founding trajectory of the Modern Movement. In this book, Professor Pevsner proposes a reflection and at the same time an evaluation of the origin and generation of the design, freeing it from the contradictions generated by applied arts and crafts. Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 180 Noa Garcia

EVOLUTION OF THE POSTERS OF THE CANARY ISLANDS: CENTURY XVIII - XX

The printing press was introduced in the Canaries in the middle of the eighteenth century, and at that time in the Peninsula had already printed three centuries and there were at least six cities in Spanish America that had typographic workshops, and it was in 1751 when it was established in Santa Cruz de Tenerife, the first Canarian printing house.3 Until the beginning of the 19th century, in the case of Tenerife, and even in the case of Gran Canaria, we can not speak about the definitive consolidation of the printing press in the Canary Islands. It was at this time in which I developed that the canary publishing sector is very remarkable. This reality would place the Canary Islands, with seventy-two printers, among the top ten in Spain by the number of typographic establishments. In 1920, the professionalization of advertising in the Iberian Peninsula began to emerge, and it was not until 1960 that this phenomenon began to be appreciated in the Canary Islands. Already by then the European tourist signs were concrete and direct, like those of A.M.Cassandre, who wrote that the poster had stopped being an object of exposure to become an "advertising machine." These designs as clear and with ideas as simple as those of Cassandre and Herber, they would not be seen on the festivities posters of the Canary Is- lands until 21st century. [Figs. 1-6]

Fig. 1. Cassandre, A. M. (1931). L’Atlantique. France. Fig. 2. Matter, H. (1934). Poster for the Swiss Ministry of Tourism.

Fig. 3. Gurrea Sánchez, R. (1974). Fiestas de Invierno de Santa Cruz de Tenerife (Carnival poster). Tenerife, Spain. Fig. 4. Fig. 4. Álamo, F. (2000). Carnaval de Santa Cruz de Tenerife. Tenerife, Spain. Fig. 5. Mesa, C. (2007). Corpus Christi y Romería de San Isidro de la Villa de La Orotava. Tenerife, Spain. Fig. 6. Rodríguez Álvarez, D. (2015). Corpus Christi y San Isidro de la Villa de La Orotava. Tenerife, Spain.

Although in the Iberian Peninsula, in the 60's, you could see posters as good as Manolo Prieto's "Iberia", the reality was that the poster in Spain was falling in decay, according to Prieto himself, "the poster had become a pretty print, which has nothing to do with advertising.4"[Fig. 7]

3 Hernández Vera, J (1999). Diseño corporativo editorial del Servicio de Publicaciones de la ULL (pp. 91-92). Santa Cruz de Tenerife: Litografía Romero. 4 Prieto, M. (1946). ¿Qué opina Ud. del cartel español? (1st edition, pp. 38) . Arte Comercial. Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 181 Festivities posters of the Canary Islands

Fig. 7. Prieto, M. (1960). Vuele por Iberia. Spain

Years ago, in the magazine "Arte Comercial" of 1946, the critic Gil Fillol thought that the Spanish posters lacked "spark" and he denounced the neglect of "the fundamental principles of the poster; Simplicity, ingenuity, at- tractiveness, originality. Simplification rather than simplicity5". To capture the attention of the public it was no longer enough to draw well or manage the color to perfection, they needed concepts. In this sense, in 1952, American designer Paul Rand wrote: "The essence of 'poster art' is not a matter of literal content or technique but the creation of visual ideas appropriate to the medium. Innumerable so-called posters are not actually posters, but rather enlarged illustrations that ignore the fundamental functional considerations of size, distant vision and viewer speed, which must be the determining factors in the design of the poster6." After World War II, between 1953 and 1960 a more noticeable change took place in the field of design, a path towards professionalization. In the words of Checa Godoy, in these years "the poster is, in short, the priority for aesthetics to efficiency, but without losing beauty.7" In the Canaries, posters that used to be illustrations very loaded with images that faithfully represented reality, from that date gradually began to be simplified. The tourist poster began to adopt the premises of modernity before the cartel of traditional festivals, which still today resists in some cases to incorporate the achievements of good modern design. This is due more to (bad) management by the institutions responsible for the promotion of the holidays than to the evolution of the environment, since the tourist poster had no problem in finding its own space in modern design and evolve with it. [Figs. 8-9]

Fig. 8. Galarza, J. (1963) - Carnaval de Santa Cruz de Tenerife, tourist poster. Tenerife, Spain. Fig. 9. Garrido, E. (1964) Octava del Corpus Christi de La Orotava, traditional festivity. Tenerife, Spain.

In the Canary Islands, since 1970, the themes of the posters are varied, but among them the most important are those of parties, sports, exhibitions and cultural events, those containing consumer products, also having the political cartel its importance in times of electoral campaigns. As for their techniques, the posters were made in flat inks, where their treatment is of great uniform zones, cleaning and enhancement of the color, luminosity, etc., is the technique that best adapts to the language of

5 Fillol, G. (1946). “Crítica. Carteles” (2nd edition, pp.12). Arte Comercial. 6 Rand, P. (1952). Fifty artists and designers analyze their approach, their methods, and their solutions to poster design and poster advertising. Posters. Nueva York: Reinhold Publishing Corporation. Rerieved from: http://www.paul- rand.com/foundation/thoughtsposters/#.U2Fvdq1vLA 7 Checa Godoy, A. (2014). El cartel. Dos siglos de publicidad y propaganda (pp. 43). Sevilla: Advook. Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 182 Noa Garcia the poster; also the execution of generalized form is realized in four color, that admits all type of treatments and techniques: degraded ones, gouache, crayons, acrylics, etc8. The festival poster is the most representative among the different subjects that are treated in the poster edition. It is the towns and municipalities, in general, who, using the poster, want to publicize their most important festivals or events through this type of edition, which has a great influence on the general public. The party posters are varied, generally contain photographic illustrations or a drawing made for this purpose by non-professionals of the design9. [Fig. 10]

Fig. 10. Unknown autor.(1974) Octava del Corpus Christi de La Orotava, traditional festivity. Tenerife, Spain.

It was precisely in the spheres close to the culture that, in the eighties, at the moment of cultural efferves- cence that was experienced in all Spain with the death of Franco, there was a certain resurgence of the cartel- ism, although of aesthetic nature, affecting especially in Canary Islands to the Carnival posters, which were now made by designers but also, as in its origins, by painters and illustrators. The new posters showed that their use had changed and their language had been redefined. The posters of the carnival of Santa Cruz de Tenerife have crossed different stages, being Galarza and Gurrea those that have designed to order, greater number of them, until 1981; as of this year, the Carnival Festival Commission decided to make, in successive years, a contest of posters to respond to the criticisms received in previous years. In 1984 a new stage begins in which the poster is commissioned to painters of recognized prestige, starting with Cuixart and following him César Manrique, Pedro González, Dokupil, Facundo Fierro, Mariscal... Painters are not usually good designers and it does that the qualities and messages are poor and unclear, either because of the lack of techniques or because they do not have sufficiently clear concepts about the function of the cartel. [Fig. 11]

Fig. 11. Galarza, J. (1980). Carnaval de Santa Cruz de Tenerife. Tenerife, Spain.

At this time important print runs of tourist posters, which were diffused by institutions like Cabildos, Gov- ernment of the Canary Islands, etc. These posters were characterized by containing a photograph that covered the entire surface of the poster and a text indicating the name of the island; they were exposed in places attractive to the tourist, giving to know the crafts, the folklore, etc. In this type of poster there is no participation of the designer and in some cases it was the photographer himself who cared to take care of the quality of the reproduction.

8 Hernández Vera, J. (1989): El diseño de edición en Tenerife : análisis crítico, procesos y técnicas (pp. 195). La Laguna: Servicio de Publicaciones, Universidad de La Laguna. 9 Hernández Vera, J. (1989): El diseño de edición en Tenerife : análisis crítico, procesos y técnicas (pp. 196). La Laguna: Servicio de Publicaciones, Universidad de La Laguna. Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 183 Festivities posters of the Canary Islands

In these years, posters could be produced in two ways or techniques, either directly or by spot colors. Their formats were varied, but they were always conditioned by the sizes of the machines they had at that time, so they were usually printed in 45 x 65 cm or 70 x 100 cm format.

EVOLUTION OF THE POSTERS OF THE CANARY ISLANDS: CENTURY XX – XXI

In the 1990s, there was a great revolution in the area of home computing. At this time, computer prices dropped dramatically, image editing programs became popular and the use of the internet became popular too. However, it was the cheapening of the printing systems, as of 2000, responsible for the widespread phenomenon of labor intrusion which is still very active today, and which has clearly affected the history of the Canarian posters. At this time, some traditional festivals are considered of tourist interest and their posters are made under the criterion of the good modern design that was used for the tourist posters, leaving of being mere pictures or simple programs of acts. [Fig. 12]

Fig. 12. Berlanga, C. (1997). Carnaval de Santa Cruz de Tenerife. Tenerife, Spain.

On the other hand, others insist on following the prior premises to modern design but incorporating computer media, whose result was totally incompatible with modern design. This case is comparable to that which occurred in 1851 with regard to the objects exhibited at the Universal Exhibition in London, whose pieces did not satisfy anyone, or defenders of modernity or defenders of tradition. [Figs. 13-15]

Fig. 13. Delgado, F. (1990). Octava del Corpus Christi y Romería de San Isidro Labrador. Tenerife, Spain. Fig. 14. Dominis (1991). Octava del Corpus Christi y Romería de San Isidro Labrador. Tenerife, Spain. Fig. 15. Delgado, F. (1992). Octava del Corpus Christi y Romería de San Isidro Labrador. Tenerife, Spain.

Currently due to the poor management carried out by a large part of the political institutions of the Canary Islands (who create open design contests, entrust jobs to non-designers and allow unqualified people to modify the final designs), we can see some ups and downs in the design of posters of fiestas of the archipelago, a clear example can be observed in the last three posters realized to promote the Carnival of Santa Cruz de Tenerife. [Figs. 16-18]

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 184 Noa Garcia

Fig. 16. Tosco, A. (2015). Cartel del Carnaval de Santa Cruz de Tenerife 2015. Tenerife, Spain. Fig. 17. Torres, J. (2016). Cartel del Carnaval de Santa Cruz de Tenerife 2016. Tenerife, Spain. Fig. 18. Dámaso, P. (2017). Cartel del Carnaval de Santa Cruz de Tenerife 2017. Tenerife, Spain.

It can be seen that the poster of the year 2016 is a good example of what should be done in the other towns of the Canary Islands. Posters that have been modernized without losing the essence of island design, and which possess all the qualities that must have a good sign, clarity, readability, simplicity... This particular has been done by a professional and design student, who knows well the carnival of Santa Cruz and created a proposal that received a great acceptance by the general public. As a design professional and researcher, I am using the information I collect for my Thesis, to make proposals for posters such as the May Festival of Los Realejos of 2015, declared of National Tourist Interest and to draw a series of conclusions for, among others things, try to establish some suitable criteria for this type of design commissions. Due to the high rate of tourism and the high level of celebrations celebrated in the islands, the poster was and still is a tool of transmission of information highly used in the promotion of the festivals of the Canary archipelago, but the poor management of the design in the institutions, access to computer tools and globalization, are contributing to the design of canarian posters present many ups and downs, for this reason, it is essential to avoid bad practice and to put in front people with knowledge of design to carry out the tasks of management and design of the posters, in order to improve the image of the holidays, attract new tourists and improve the economy of the islands.

REFERENCES

Checa Godoy, A. (2014). El cartel. Dos siglos de publicidad y propaganda (pp. 43). Sevilla: Advook. Fillol, G. (1946). “Crítica. Carteles” (2nd edition, pp.12). Arte Comercial. Hernández Vera, J. (1989): El diseño de edición en Tenerife : análisis crítico, procesos y técnicas (pp. 195). La Laguna: Servicio de Publicaciones, Universidad de La Laguna. Hernández Vera, J (1999). Diseño corporativo editorial del Servicio de Publicaciones de la ULL (pp. 91-92). Santa Cruz de Tenerife: Litografía Romero. Prieto, M. (1946). ¿Qué opina Ud. del cartel español? (1st edition, pp. 38). Arte Comercial. Rand, P. (1952). Fifty artists and designers analyze their approach, their methods, and their solutions to poster design and poster advertising. Posters. Nueva York: Reinhold Publishing Corporation. Rerieved from: http://www.paul- rand.com/foundation/thoughtsposters/#.U2Fvdq1vLA Renau, J. (1976). Función Social del Cartel (pp. 89-100). Valencia: Editor Fernando Torres.

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 185 Casting with Ceramic Shell and the Deployment of Microwave Susceptors for the Dewaxing of Jewelry Parts and other Small Size Objects

Soledad del Pino de León a, Fátima Acosta Hernández a and Itahisa Pérez Conesa a

a Department of Fine Arts. University of La Laguna. Santa Cruz of Tenerife. Group of Technical Investigation and Sculptural Procedures. [email protected]

ABSTRACT

The object of our study is a procedure that improve the casting with ceramic shell for artwork, jewelry, design and small and medium size objects as well as the saving of energy, time and money that we can achieve with it. It is based in the deployment of susceptors, microwave absorbent materials which have a catalytic behavior in the transferring of electromagnetic energy into thermal energy and its resulting transmission to the molding wax layer of the parts by conductivity, thus allowing a controlled, smooth and non-aggressive dewaxing, for the parts as well as for the environment, leaving it ready for the pouring of melted metal in contrast to the traditional method of flash dewaxing. The resulting high conductivity of the composition of the susceptor material achieves a drastic decrease of time in the dewaxing due to the high celerity in the increase of its temperature, allowing the shedding of wax without breaking the mold. The possibility of not having combustion of the wax or any other thermo degradable material plus the simplicity of the infrastructure implies a considerable improvement in the manipulation and control of the processes in jewelry.

Keywords: Artistic casting, jewelry, dewaxing, microwave.

INTRODUCTION

The microfusion started in the Canary Islands after the Conquest by the Spaniards and this was done through very old procedures. It was around the sixties when the "traditional microfusion" begun to be used providing a better way to do jewelry work in private workshops and being driven by the need of findind ways to be more autonomous and thus being able to compete regarding prices, qualities and forms with the industries on the other side of the Atlantic. Artistic casting implies the use of different procedures that work together according to the workshops and the foundry worker needs, and that have as a quest differentiating both in the creative language and in the procedural systems for the production of metal parts. The dissemination of the techniques back then were practically a secret,; it was the teacher who transmit- ted to the student those particular techniques of microfusion, producing as consequence an involution and delay in the production and an increase of prices of the artistic work. Due to the commercial isolation, the high cost of exporting the artistic work and the visual denial of the insular industry new ways of production and innovation had to be found. Development, research and new technologies of sculptural procedures are essential requirements if the Canarian artists want to compete with the industry of other important countries, beside the fact of having the need to find competitive prices, as they get affected by the import and export regulations that the outermost regions have to endure. On top of that there is a great effort that have to be put forth by the artistic casting workshops to cope with the problems of consumption, emission of gases and hazard. The process of lost-wax casting, in any of its techniques, involves the elimination of wax effectively, not exempt from the inherent problems commonly found in any type of foundry. This type of process dates from

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 186 Soledad del Pino de León, Fátima Acosta Hernández and Itahisa Pérez Conesa antiquity and it comes with many variants, and that is the reason why we can find it in distant cultures and executed with diverse techniques. The technique of lost-wax casting has its root in dewaxing, consisting in the total extraction of the wax from the cavity of a mold and the molten metal to taking its place. This part of the process, therefore, aims to prevent the hot metal mixing with either moisture or, of course, wax, since the gasification of the latter, being combustible, would destroy the mold and cause an almost inevitable disaster. This task becomes more difficult, since the objective is to melt the wax as efficiently as possible without altering the qualities of the ceramic shell. Although the goal is the removing of wax, there´s no doubt that the microfusion workshops are faced with solving problems of infrastructures, danger and space. That is why it is the most critical and aggressive part of the whole procedure. Microwave technology has become a very reliable heating process. Nowadays it is very rare that a house does not have a microwave, taking into account also that money-wise, it is affordable to family economies. Artistic casting procedures are expensive and sometimes very tedious in terms of timing and danger, so there is a need to do research in the islands universities for their own development and to come up with formulas of saving in the production of works of art. We believe that this implies the use of microwaves as a source of energy, as it is emerging as an alternative for generating heat in a clean, fast, effective way and controllable against the conventional techniques used in the industry in this field. Despite the difficulties that entails the use of microwave technology, its advantages are very important, and since some years ago there has been a great interest shown in the use of microwave energy in different fields. So, we could not but consider this alternative as well as an innovative, effective and efficient system.

CERAMIC SHELL DEWAXING

The technique of the ceramic shell opens a wide field in the investigation of new materials and procedures in the artistic foundry. Ceramic Shell Casting, as its name suggests, is one of the variants of the so-called layered cast iron process, a process inherited from remote times, consist of a shell that offers, among others, advantages in its application. It is a dense mash or mixture that is applied on in layers on the lost-model that we want to reproduce. By letting it dry it hardens to form a mold also disposable. This process prevails compared to the solid coatings by its easy manipulation of molding. We speak of a lost model and lost mold technique, since both the model, usually in wax, will be removed to obtain its cavity and the mold once filled will be broken to obtain the cast. The ceramic shell has a shape, material and ceramic constitution, but it is not ceramic, but a final hybrid between ceramics and glass. It does not receive the same treatment as any other ceramic mold. Due to its porosity and strength it is the optimum material to use in the construction of this new alternative. If we subject the shell to a gradual increase in temperature, it will eventually break due to the expansion of the wax, as the mold expansion is lower than that produced with the wax. Knowing that wax increases its volume when it is exposed to a temperature higher than its own and that its thermal expansion exceeds that experienced by the ceramic shell, if we heat the mold unevenly and slowly the wax will expand and we will have a broken mold . Fig.1.

IncreasingAumento thedel volumevolumen of de the la wax cera by ejercien pressing- thedo mold presión en el molde cerámico

Cracks in the mold produced by the expansion Grietas en el molde producidas of the wax por la expansión de la cera

Wax on the outside of the moldCera en el exterior del molde

Fig.1.Wax expansión and mold.

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 187 Soledad del Pino de León, Fátima Acosta Hernández and Itahisa Pérez Conesa

It is evident that if we increase the thickness of the mold, we will also increase its resistance to the expansion of the wax and, in addition, we can diminish this expansion by decreasing the section of the wax. So altering the proportion between mold-section and wax-section we will be able to dewax in any ceramic furnace. But we will have reduced the porosity of the mold and increased the risk of cavities. Although none of this is decisive for an average size, it is somewhat more disturbing in small pieces, and disastrous in microfusion, since it is useless to get tiny sections of metal for jewelry if they break when removing the shell. We will use then a dewaxing type called flash dewaxing, a thermal shock. This involves heating a furnace previously (between 600 ° C and 800 ° C) and introducing the mold with the intention of creating a dilatation joint between the wax model and the mold, in other words, a small space that gives a certain margin of expansion to the rest of the mass of wax that makes up the model and that inevitably expands when subjected to such high temperatures. Fig.2.

1.1.Wax piece Pieza en cera

2.2. Joint of Junta de dilataciónexpansion

3. Molde cascarilla cerámica 3. Ceramic Shell Casting

Horno 600º aprox.

Fig.2. Flash dewaxing.

Ceramic shell microfusion is not the best option for jewelry, but it is very useful in certain cases and, of course, the only one affordable for most of us due to its speed and economy. Maintaining a conventional microfusion equipment would only be worthy in industrial facilities. For a long time now we have been trying to improve and minimize the drawbacks of the microfusion of shell and we are still on it. Dewaxing systems still do not meet the requirements of perfection, speed, economic balance and danger.

MICROWAVE DEWAXING

David Reid, (physicist and foundry worker responsible for the introduction of ceramic shell in artistic casting technologies), has an experimental microfusion system with microwaves. It is based on the absorption capacity of magnetite to microwaves. Incorporating magnetite to the composition of the crucible it makes it get hot enough to be able to melt small pieces of silver in a domestic microwave oven. This is the first time the concept of susceptors is used. Based on this premise and the problem posed by having the need to obtain a smoke free dewaxing, fires, surprises, and the need to lower the costs, it was decided to try magnetite to reproduce the heat shock, having as a source of energy the microwave heating. The microwave dewaxing is not possible using the procedure of the ceramic shell as it has been done until now, as when the wax is heated gradually and heterogeneously, the increase in volume of the wax ends up breaking the ceramic mold. This happens because the components of the ceramic mold are transparent to the microwaves, while the wax molecules do absorb them. This reaction or accumulation of heat occurs progressively and from the inside to the outside manner, insofar as this is possible due to the magnetic nature of water molecules, it is not powerful enough to cause an immediate increase in the temperature. In a thousandths of a second the surface of the wax must get hot enough to be able to create a dilatation joint and bring to pass the dewaxing by thermal shock. In order to reproduce this effect, a microwave absorbent stucco is added to the first layer of the shell mold which helps this layer get hot gradually but much faster than the water molecules of the wax. Susceptors are conductive materials with a resistive behavior when exposed to electromagnetic fields given their dielectric properties and are heated by the Joule effect in a very short period of time.

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 188 Casting with Ceramic Shell and the Deployment of Microwave Susceptors for the Dewaxing of Jewelry Parts and other Small Size Objects

We get through this a very similar effect to the one that takes place with the fast flash dewaxing, as the whole surface of the wax gets hot very rapidly. Fast enough so that it begins to melt in a stratifying way and to star oozing out of the mold by its outlet, avoiding thus its mechanical fracture. In addition, the heat radiated by the susceptor layer contributes to mold dehydration. Fig.3.

1. Wax piece 2. Susceptor 3. Ceramic Shell Casting 4. Microwave

Fig.3. Heat shock process descends microwaves.

To the wax-susceptor-ceramic-shell combination, taking into account the shape and complexity of the shape, is applied a variable microwave power in the microwave oven by varying the initial microwave power, making sure is the highest possible so it can melt the wax in contact with the susceptor. Afterwards, the power must be reduced to prevent thermal expansion of the surplus of wax as it can cause cracks in the ceramic mold and, in the last step of the dewaxing, the microwave power is again increased to achieve a complete dewaxing. The wax melted and expelled from the inside of the ceramic mold will finally be kept warm, drained and collected or transferred to be reused in subsequent dewaxing processes. Fig 4.

Fig.4. From left to right. Measurements, piece in wax and part with susceptor.

STATE OF RESEARCH

The research group "Techniques and Sculptural Procedures" belonging to the Department of Fine Arts of the Faculty of Humanities of the University of La Laguna carried out the project "Alternatives to dewaxing with ceramic shell casting: microwave technique ", funded by the National R & D & I Plan, with ref. HAR2010-17570. This project, financed by the National R & D & I Plan, made it possible to manufacture the first prototype mi-

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 189 Soledad del Pino de León, Fátima Acosta Hernández and Itahisa Pérez Conesa crowave oven and the first patent ES2519990 A1 (07.11.2014). This patent comprises the design and manufacture of the specific microwave oven. In order to systematize the procedure to implement it both in professional artistic casting workshops and in educational centers, research is continuing with the granting of a second research project also funded by the National I + D + I Plan: "Alternatives for dewaxing with ceramic shell casting: technique by microwaves (II)", reference. HAR2016-77203-p, which will culminate in December 2019. It is, therefore a commitment for the development and the establishing of new technologies in the Canary industrial field. In this way, small jewelery and artistic casting workshops can reduce production costs, and be able to compete with the continental industry, pioneering in the dissemination, marketing and establishment of new alternatives in the field of artistic casting. The Universities therefore will continue to collaborate in the development of new methods that could benefit and make possible the creation and commercialization of art, thus mitigating the common problems of insular exporting.

CONCLUSIONS

Microwaves dewaxing is presented as a more reliable alternative to the traditional dewaxing or flash dewaxing with ceramic shell, as it provides many advantages with respect to these and the majority of present dewaxing systems. This research allows a controlled, mild and non-aggressive dewaxing, for the parts, the foundry worker, as well as for the environment, as opposed to the traditional technique of thermal shock (Flash Dewaxing), opening a field of research of artistic casting with microwave dewaxing and designing a system to control the temperature and energy absorbed, which allows, through this technology, a very valuable collection of data about the processing dynamics of materials. The implementation of this procedure in Canary Island is oriented towards the need to simplify more and more the different processes in a foundry, being able to dewax in a microwave oven in a safe way and solving the problems of emission of gases and electric consumption in the workshops of Fine Arts as well as in small workshops. The fact of researching from an ultraperipheral university allows the jewelery and artistic foundry workshops installed in this territory to be the pioneers in implementing this innovation, reducing the difficulties of export and manufacturing and adapting the production processes to the particular needs of the islands. For this reason, it is considered that a better investment in research is necessary to favor and make possible a competitive Canarian industry.

REFERENCES

Aguilar Galea, José Antonio. (2004). La microfusión de cascarilla cerámica: una técnica adecuada para la repro ducción en bronce de piezas arqueológicas, Sevilla University. Albaladejo, Juan Carlos-Rodriguez,Iván. (2006) Fundición a la cera perdida: Cellini y la magnetita. University of La Laguna, Bellas Artes, pp13-28. Codina, Carles. (2003)La joyería. Parramón Ediciones, fourth edition. ISBN: 84-342-1762 . Díaz Morcillo, Alejandro (2004). Principios Fundamentales y Aplicaciones del Calentamiento por Microondas. Polytechnic University of Cartagena. Hurst, Steve. (2012) Metal casting : appropiate technology in the small foundry. Warwickshire (UK) : Practical Action Publishing. Marcos Martínez, Carmen.(2000). Fundición a la cera perdida: técnica de la cascarilla cerámica. Doctoral ThesisFaculty of Fine Arts of San Carlos Polytechnic University of Valencia.

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 190

Hand to Hand: Design for Sustainable Living

Ana Nolasco

UNIDCOM/IADE, Lisbon, Portugal Center of Comparative Studies, University of Lisbon, Portugal [email protected]

ABSTRACT

From an analysis of two projects from the non-lucrative association “Born: Africa, Handmade for Change”, based in Santiago, Cape Verde, I defend the importance the juncture of design, craft and social activism can have for the creation of networks – rhizomes, capable of promoting changes to social paradigms in distributed systems as defined by Manzini, i.e., networks of diverse, locally rooted elements transversally connected in non-hierarchical ways. The material limitations that characterize small island archipelagos such as Cape Verde can act as the stimulus needed for the growth of more sustainable forms of development. Their isolation, their embraceable span, the need for efficient resource management and the acute accumulation of factors detrimental to the environment have led these small islands to become the ideal testing grounds for the creation of more sustainable ways of life, platforms of experimentation and innovation.

Keywords: crafts, social design, rhizomes, distributed systems, Cape Verde

INTRODUCTION

“Le rhizome est une extension biologique, d'une plante vivace. Ce n'est pas une racine; le rhizome ne cherche pas à descendre profondément dans la terre, il n'y a pas de verticalité, il est composé de lignes qui s'étendent horizontalement”.

The rhizome, as depicted in the epigraph, is not akin to a shoot; it describes the development of forces that undermine the traditional architecture and vertical hierarchy of things, expanding horizontally instead. As Deleuze and Gattari saw it, the rhizome is deprived of genealogical origin: “A rhizome doesn’t begin and does not end, it finds itself in the middle, among things, an inter-being, intermezzo”1 (1980, p. 36). Lacking a source, rhizomes gain traction in the interstices of things. The middle is “the place where things gain speed”, for “[…] things and thoughts grow and swell in that middle” (Deleuze, 2008, p. 200). It is thus in the interstices of things and dominions that new lines of de-territorialisation find the potential to emerge. The two projects I have chosen here as ground for this reflection find themselves at the borders of different subjects – art, craft and social activism – in an area “not possessed of identifiable relations or reciprocations, but of a perpendicular direction” (Deleuze & Gattari, p.31-32) appropriate for the construction of new dimensions of space-time not predictable from their antecedents. I shall begin with a description of the two projects, each conceived in the socially and economically deprived context of Cape Verde. With a generally dry climate, the islands can suffer extended periods of drought spanning years in some cases. Given

1 From here on translations are ours.

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 191 Ana Nolasco the reduced access to water and goods – most of which are imported, an efficient management of resources is essential. This context led two designers to create Born: Africa, a non-lucrative association aimed at contributing to local communities the opportunity and tools to connect local artisanal traditions to sustainable forms of development, resorting to local materials and the creation of fair trade incentives, while simultaneously supporting intercultural exchange. The innovative aspect of these projects is, in my opinion, the fact they were not built around precise goals, but as avenues of emancipation for artisans, to afford them the tools with which to discover and create the means of a sustainable and ecological long term livelihood, to place under their responsibility the successful guidance of the larger project. In the second part of this article, I shall explore the networks potentiated at a global level through this alliance of crafts, and the objects that circulate through them and that crystalize the ancestral know-hows involved. What emotions do they convey? What effects are triggered? From this study case, I defend that the areas that bring together design, crafts and social activism directly promote social network development and are capable of opening new avenues for sustainable ways of living.

STUDY CASE: BORN: AFRICA

This section is devoted to the description of two projects put in place by the association “Born: Africa, handmade for change”. The association was created in 2012 by Marta Morgado (Portuguese) and Patricia Anahory (Cape Verdean), two designers linked by a shared background in architecture, lives marked by diverse cultural experiences and countries – Mozambique, Lisbon and New York, among others – and a convergent inclination for projects uniting design, crafts and social activism. The last is here understood as any action in defence of communities and in the context of contemporary geo-political changes, environmental changes and harmful economic practices. The idea of creating an association came about as way of complementing an already existing collaboration between the two designers, the project Krobo Jewellery – items of jewellery that re-interpreted Ghanaian recycled glass beads – with a socially-minded component for the improvement of quality of life through the rehabilitation of sustainable artisanal crafts.

Recycled Beads

The first case study to be analysed, also the first under the Born: Africa initiative, focused on adding value to already existing practices among local artisans while promoting awareness of ecological practices. This was done through a technical course on Ghanaian recycled glass bead production2. The beads are known as Krobo beads after their original manufacturers, a majority group of the Dangme ethnic hub in South Ghana. They are intimately linked to the identity of their creators, regularly included in rites of passage – such as the “Dipo” puberty ceremony, and wedding and funeral ceremonies. The origin of the production of these glass beads in Ghana remains unknown, a first reference to the technique having been published in 1732 by Jean Barbot, a French commercial agent, but more recent evidence dating it much further back (Ashe, 2012). Given their complete reliance on discarded or natural material – from the glass itself to the ground oven, the few metallic elements taken from scrap car chassis’ and the clay moulds – the cost of implementing these artisanal techniques is close to zero. The objective is that each artisan becomes himself autonomous in the creation of his pieces, of which the techniques involved allow the creation of several, and that he is able to pass these on. The project was first implemented in the summer of 2016, the technical course running from the June the 13th to July the 2nd with the International financed by the International Labour Organization (O.I.T.) and with the support of the Ministry of Culture and Creative Industries of Cape Verde, under the guidance of the National Direction of Arts (N.D.A.). This support enabled the presence of Abraham Tetteh, a Ghanaian artisan specialized in the production of recycled glass beads. Previously selected with the support of the N.D.A., 19 artisans from the islands of Santiago, Maio, São Vicente and Santo Antão were also present. The selection

2 Information related in this section and following and pertaining to the projects studied was obtained through personal interviews with Marta Morgado and Patrícia Anahory from January to June 2017.

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 192 Hand to Hand: Design for Sustainable Living criterion was their past experience in artisanal production, so that they could efficiently convey their knowledge to the participants. The course covered all the steps leading to the production of the glass beads (fig. 1 and 3). These steps were recorded and the recordings made available in physical format. Smaller pedagogic modules on capacitation methods, micro-business management and design were further held. Following the course, one of the attendees obtained the support of ILO for the preparation of another seminar on the island of Santiago, in Ponta Furna, to a group of sixteen youths that included six women potters. As a way to encourage local bead production, the Born: Africa association placed an initial order with the group of students of Ponta Furna. Given that the quality of the beads remained below standard, the association put in place, together with local artisans, a collection centred on design as added-value, so as to make their production viable. Local bead production is currently being complemented by that of Krobo beads and new commissions, as a way of introducing new products to the fair trade market. However, production following the course quickly decreased: of the 19 participants of the course only one, the one who had organized the course in Ponta Furna, maintains the activity today. Of the sixteen youths who undertook the seminar in Ponta Furna, all but the six potters responded to the commission made by the association.

Figure 1 – Different steps of recycled beads production

This, according to testimonies I have gathered on location but which I believe can be generalized, is the biggest problem faced in attempted collaborations between artisans and designers. Dependent on the small proceeds of their craft, artisans are forced to devote the majority of their time and work to pieces with guaranteed outlets, leaving them little room to invest in new and risky material. This could in turn explain why, of the 16 Ponta Furna students, only the youths, and not the potters, responded to the commission sent, since they had the least to lose.

Storia/Storia

The second project we intend here to touch on, Storia/Storia, was conceived with the goal of promoting immaterial culture – oral tradition, by encouraging trans-generational dialogue and exploring sustainable sources of income through the production of dolls rooted in local immaterial culture. The initial plan involved a first stage of collecting traditional oral tales from older elements of the local community and their illustration by children of the same community. The second stage consisted of a course held in that same community, where motivated sowers would be led to produce cloth dolls based on the illustrations, to be sold together with their stories. The aims of this project were, (i) that following the workshop, students might be capable of producing their own dolls from local lore – for which the course covered different types of hair, faces, etc.; (ii) raising awareness to the added value in cultural heritage. The Role of Born: Africa was to be that of accompanying the development of the project, of evaluating the quality of the products, of packaging and promoting them to ensure their commercial viability. In this way, both projects envisaged incentive campaigns as well as follow up support of the participants. The Storia/Storia project was a pilot initiative, launched in partnership with Sphaera Mundi – the International Association for Cooperation and Sustainable Development, devoted to education and patrimony. Both projects were embryonic when the two associations came in contact and understood their complementarity. Sphaera Mundi was at that time, with the support of the Municipal Office of Ribeira Grande, involved in collecting stories from Cidade Velha. Cidade Velha (Old Town in English), capital city of Cape Verde until 1770, was the first European city built in the tropics – by the Portuguese in this case, and was classified as a World Heritage Site by UNESCO in 2009. Following a UNESCO grant for the collection “Inspira-te – Património Criativo” – a series of writing and drawing notebooks, Sphaera Mundi had further received funding from the Camões Institute for the implementation of a project aimed at the valorisation of immaterial heritage

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 193 Ana Nolasco at schools using those same notebooks. This initiative in turn included collaborations with artisans in its application. Sphaera Mundi and Born: Africa signed a protocol to this effect in 2013. Six elements were then selected by the organization as the most representative of the city’s culture and identity: the pirate, the fisherman, the batucadeira, the baobab, the grey-headed kingfisher and the fishwife. The initial proposal envisaged, following the valorisation work at schools through notebooks and the illustrations of the stories by the children involved, to use these as inspiration for the cloth dolls during the workshops. However, due to setbacks, the awareness campaigns ended up occurring simultaneously with the training activities overseen by the cloth doll production specialist Julieta Franco. Consequently, the drawings used were performed based on knowledge gathered from people of the Ribeira Grande community and their descriptions of the above mentioned elements. Selection of applicants with acceptable background in sowing techniques was left to the Municipal Office of Ribeira Grande, resulting in 13 acceptances – two men and eleven women, ages varying between sixteen and sixty years old. The course took place from March the 28th to April the 8th, beginning with an introduction to drawing, followed by an overview of the transition from drawing to mould, and ending with the creation of the dolls.

Figure 1 – Different steps Storia/Storia project

An exhibit took place in July 2017 for the promotion and support of doll production in the framework of the larger collaboration. The dolls were sold by the artisans themselves. Several students have begun diversifying their production, and other items, such as turtle or fish key-chains – not covered during the course but produced using the same techniques, have begun emerging. Despite the setbacks and changes to the original programme, everyone involved – even the children, often related to the sowers – took part in the rekindling and renovation of their city’s immaterial patrimony. In the short span since the program’s implementation, signs have begun to emerge of the utility of the techniques and approaches developed for the improvement of artisanal products in their quality and exposure.

CRAFTING RHIZOMES

In a time when the ground truth of reality is questioned by the continuous succession of different and often contradictory narratives about the same, the capacity for a phenomenological response to the language of things finds itself diminished. In Le geste de faire (2014, pp. 2109-246), Vilém Flusser gives us a summary but pertinent description of the causes behind this abatement. According to him, in order to achieve plenitude – always out of reach and consequently necessary, to forsake Merleau Ponty’s ‘hyatus’ (1984) – through the things of the world that face him, Man has come to develop tools for their understanding (“begreifen” in German, from the term “greifen”, meaning to grasp). Instruments to that effect multiplied, as did the instruments to build them and those to read them. Only, those instruments are not sensitive to the nature of what they touch, indifferent to whether it is a living thing or an object. Thus the capacity to “hear” the world, the other, and even ourselves, is, like Nature, threatened with extinction. Restoring that connection to a Merlo Pontian “flesh of the world” – an inclination for the study of others, of ourselves in those others, of living things and inanimate objects and even words – might depend on a sensitivity towards the “Here and Now”. An artisan has a tactile understanding of the materials he works with; he “listens” to them, senses the smallest variations and “tactically” anticipates them. When he creates, he embraces the material to the point that we cannot say which it was that spawned the creation. At that moment of fusion of material and artisan, material and artist, action has stopped following pre-determined rules, “thinking”, spontaneously, with the material. The reflection-in-action was triggered (Schön, 1987, pp. 20-40). The reflection-in-action leading to the creation of the dolls materialized an interpretation of the characters

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 194 Hand to Hand: Design for Sustainable Living depicted that is a part of the immaterial heritage of Cidade Velha. Despite the setback – the fact that the dolls were not a direct interpretation of the children’s illustrations, these dolls echo other interpretations, keeping alive the characters and their memories. Because the children and the sowers live side by side – the same household in some cases, the characters are passed on, from one generation to the other, by the elderly who tell their tales to the children who, in turn, illustrate them. We further consider that these activities promote a sense of pride among artisans, pride in their work and their identity. A pride that comes from work that is personal and no longer alien, from the possibility of seeing, in the fruit of their labour, a reflection of themselves, a result that was entirely their responsibility and for which – contrary to automated work, decisions were required of them. They constitute cases of knowing-in- action (Schön, 1987, pp. 22-40): activities that stimulate and develop a form of “incarnated intelligence”, thought through the language of action, through the interaction of body and surroundings, a “tacit and spontaneous” intelligence – as noted by Michael Schön (Schön, 1987, p. 25). It is my understanding that the junction of action and thought promotes networks that connect people through the circulation of objects, affections and skills. Networks of this kind – small-scale, local actions found across the globe, are comparable to the rhizomes defined by Deleuze. Deleuze, and Guattarry, are known for having criticized designers – calling them the lackeys of capitalism, for appropriating the creation of concepts – a domain until then reserved to philosophers – to brainwash people and lead them to buy things they don’t need (1991:16). They did not, however, consider the dual nature of design, which, simplifying, we here state as: market design for the sake of sales’ efficiency, and design for social networks3. Criticism of design as led by Deleuze and Guattari, broadly aimed at the former, understandably failed to predict the evolution the field of design would experience during the following century. Indeed, since the turn of the century, various movements have emerged from within that vein of design set on social change, a vein which conceives design not as the shaper of objects but as the art of creating nexus that unite people, of facilitating possibilities. Among these emerging trends can be included, among others, what Manzini refers to as “design for social innovation”, and that more recent tendency, Transformation Design, introduced, in 2006, by White Paper. Transformation Design combines participatory practices with user-centred design methods – a school born in the 1970’s in the U.S. that flourished during the decade of 1990, but which is criticised today as being too narrow, as objectifying people, the “users”, treating them as simple consumers. Overall, these tendencies contemplate, in one way or another, the rehabilitation of local artisanal knowledge as sources of innovation – the concept of “artisanal” having itself suffered considerable changes since the turn of the century. Thus, Manzzini, in 2012, postulated that “the rediscovery of traditional craftsmanship” consisted in one of the factors contributing to the “third wave” of innovation affecting distributed systems4. He considered the emergence of the conjugation of systems of resilience with cosmopolitan localism (Wolfgang Sachs, 1992) – which he designated as SLOC scenarios (Small, Local, Open and Connected), to be the adequate setting for the development of research on, among other subjects, “how to create favourable environments and develop collaborative platforms to trigger and support social innovation; how to promote traditional and high-tech craftsmanship within the framework of a network society” (Manzini 2012). Along the same lines, Michael Schwarz and Joost Elffers – who, in their manifesto “Sustainism Is the New Modernism” (2010), defined the concept of Sustanist Design – appeal for a change of paradigm towards a more localized, interconnected culture, and the rehabilitation of traditional knowledges (2013). In the context of these conceptual developments, and in line with Deleuze and Guattari, I find it pertinent to resort to the concept of “rhizomes” in order to adequately describe the intertwining of design and craft that is seen in these projects, as it achieves a valid translation of the concept onto an ever-changing present (Marenko & Brassett, 2015, pp. 225). Crafts hold, in their ancestral origin, the principles inherent to Design and sustainability. While, today, the referral to authenticity in crafts is used for economic purposes, it was once the object of ideological claims by diverging tendencies: fascism, for the purposes of reinforcing the notions of racial and ethnic purity; socialism, as a symbol of un-alienated work, the cement of the community of workers. In fact, the association of craft and authenticity was born – as was the notion of craft itself – during the Industrial Revolution, when the notion of rural life, as opposed to city life, became attractive (Dormer, 1997).

3 I rely here on the distinction made by Adam Thorpe and Lorraine Gamman (2011: 228), who in turn adopted the that of Stuart Hall (1980) of two divergent cultural paradigms. 4 The first being “when the architecture of information systems shifted from the old hierarchical structure to new, networked ones”, the second focusing on energy systems. For further details refer to Ezio Manzini, 2012.

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Along the same line, craft is today used by designers to confer a degree of authenticity and uniqueness to luxury products. As a symbol of rebellion and social responsibility, craft confers a veneer of status quo to their products5. Hence the potential ambiguity in collaborations involving craft and design. Power, it is known – and was clearly analysed by Foucault (1975), will re-appropriate its opponents, transforming them into the fuel of its expansion. Values such as “localism”, “identity”, and their correlate, “authenticity”, have been strategically converted into brands through the most unscrupulous of marketing techniques: “local sells”, Thakara tells us (2005, p. 84). Movements critical of the delocalization of productive centres towards third-world countries and its ecological and social consequences are frequently co-opted in order to divert attention away from the main issues, whose focus is not the creation of new products, but often how to consume – and produce, less. The result is a branding of anything local, re-drawn by designers as touristic offer, generally of idyllic scenarios set against historic and ethnographic backgrounds. Through these two projects, the appropriation of craft by tourism is itself reconverted into an added value for the preservation and renovation of the knowledges threatened by that same tourism. Akin to the way, in jiu-jitsu, the adversary’s weight and momentum are used to effortlessly counter his attack, these projects intercept the pre-existing movement described above – including the connotations it bestows on crafts, as a way to redirect it in its favour. As noted by Deleuze, the modern notion of movement is no longer linear – the leaver mechanism, running, throwing weights, etc. – but instead based on an “insertion into a pre-existing wave” (2008, p. 151) – picture surf, windsurf or paragliding. It’s about catching the current of the time, with its nefarious effects in the midst, to achieve the valorisation of the local and a creative direction perpendicular to that thread leading to the “Disneyfication” of the local (Bryman, 20014). That is the modern creative work, conceived more as a facilitator, carried out by other movements in the line of the relational aesthetics of Nicholas Bourriaud or of Participatory Design, since, as Deleuze points out, the business of creation is never an isolated one: “creation are the intercessors […] one always works with others, even when that isn’t seen.” (On travaille toujours à plusieurs, même quand ça ne se voit pas, 2008, p. 156)

MEMORY AND SENSORIAL EXPERIENCE

The digital revolution has led to a dizzying acceleration in the exchanges of goods, images and information, particularly among those countries rich in digital means, where, by no feat of chance, the term “globalization” emerged. The overvaluation of instantaneity that evaporates distance, and physical space with it, is today counteracted by movements that subscribe to a lifestyle aptly summarized under the epitome “slow”. They form a counterweight to Time understood as currency and to the obsession with blind accumulation, valorising a “red”, savoured Time. This is the context in which the valorisation of “proximity and self-sustenance”, considered by Manzini to be the fundamental Third Tendency – oriented towards distributed systems, needs to be understood. Both the process and the outcomes of these courses – dolls and glass beads, awakened sensory experiences through the gestures they inspired, the colours and textures of the materials applied. The objects created are rare and unique; they were acquired through an emotional choice and bear an element of “narratability” (Norman 2004). The latter is connected to the memories these objects carry inscribed in their materiality, whether in their features – thus visibly registered on their surface, or their connection to the immaterial patrimony they embody and the memory of the moment they were acquired. With the digital revolution, memory has become, in a way, virtual, not anchored to a materiality whose texture, grain and colour connect to other places. Unable to anchor on the now smooth surface of the present, affections that are dependent on those associations are slowly eroded. In this context, objects ingrained of the manual value of a gesture and the memories of a place are at the heart of the counter current to the dematerialisation of memory.

FINAL CONSIDERATIONS

On a resource poor archipelago like Cape Verde, these actions emancipate artisans, providing the tools that allow them to use local resources – glass residues, earth, oral tales, cloth and wool – as sources of sustainable income. In this sense, they are in line with the Asset-Based Community Development defended by Kretzman (1993) – the use of locally existing characteristics as assets for sustainable development. In this case, a specific

5 This question is raised by Glenn Adamson in The Invention of Craft, London: Bloomsbury Academic 2013.

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 196 Hand to Hand: Design for Sustainable Living goal result was not imposed by the designers, who limited themselves to the role of facilitators, subject to the same risks as the artisans, in the true nature of “workmanship at risk” (David Pye, 1968): the uncertainty of the result that generally distinguishes the job of a craftsman or, indeed, that of the creator. An open and porous system has more avenues of resilience and is capable of adapting to local idiosyncrasies. The two projects discussed here were conceived in this way, as orienting models, whose change and adaptation precedes their implementation. I believe these projects are part of the Third Wave of innovation for distributed systems discussed by Manzini. In the way they target not the creation of a product, nor, in fact, the training of those involved, but the spread of seeds to be scattered through the future transmissions of know-hows between people of the community. The activities promoted are sustainable in the resources they rely on and small in size, designed to the scale of the archipelago itself. From these points, I defend here that the systems of resilience defended by Manzini form network structures that potentiate new lines of de-territorialisation – rhizomes. Lines that conquer new territories through the rehabilitation of skills generally disregarded in western thought, whose priorities are set on efficiency at all costs, efficiency in destroying the environment, efficiency in war. According to Glissant, western rational order is powerless to discern the becoming chaos of the world, which has been the apanage of an atavistic culture that connects to the unique and exclusive root (1996, p. 47), that considers that the “archipelagic thought” has the potential to deal with the subtle differences, of connecting with the other poetically, without the need for comprehend ( in german “begreifen” from the word “greifen”, “to grab”). It can thus capture the ambiguity, inapprehensible in systematic thought, of that other form of developing thought, “more intuitive, more fragile, threatened, but in tune with the world-chaos and its contingencies” (1996, p. 34). Along that line, the attitude of the two designers in this project is consistent with that of a designer that assumes his role of a facilitator of possibilities in order to create local solutions without taking control of all stages of the process - the position of the more traditional, paternalist designer, the head of development, “he who knows”. This fragmentation of power is symptomatic of distributed systems: the more fragmented the connections in the rhizome, the more power in that system, the more stable it becomes, for it can more easily regenerate without loss to the whole. We urgently need utopias capable of countering the homogenizing drive of globalization, whose peculiarity it is to spread the illusion that alternatives to the existing reality are not possible. In Homage to Catalonia, George Orwell stated: “if you want to change something you don’t have to fight against what is there but to invent anew”. The actions described here might seem idealistic. They are in fact, only drops in the ocean, but also a seed, a call for the creation of more meaningful personal relations and a sustainable future.

Figure 3 – Diferent types of recycled beads produced during the Born: Africa project

REFERENCES

Adam Thorpe & Lorraine Gamman (2011.) Design with society: why socially responsive design is good enough, CoDesign, 7:3-4, 217-230, DOI: 10.1080/15710882.2011.630477143–158. Ashe, Jordan (2012). Progression of Aesthetic: a Study of Beads and Adornment in Contemporary Krobo Society Independent StudyProject (ISP) Collection. Paper 1248. Baldacchino, G. (2006). Islands, Island Studies. Island Studies Journal , 1, 3–18. Bryman, Alan (2004). Social Research Methods. Oxford University Press: Oxford DESIS, 2012, http://www.desis-network.org Deleuze, G. (2008). Conversações. São Paulo: Editora 34. Deleuze, G., Félix Guattari (1991). Qu´est-ce que la philosophie?. Paris: Éditions Minuit.

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Deleuze, G., Félix Guattari (1980). Capitalisme et schizophrénie − Mille plateau. Paris: Éditions Minuit. Dormer, Peter (1997). The Culture of Craft. Manchester, New York: Manchester University Press. E. Glissant (1996). Introduction a une poétique du divers .Paris: Gallimard. Flusser, V. (2014). Le Geste de Faire. In Al Dante (ed.), Les Gestes (pp. 219−246). Bruxelles: Al Dante. Foucault, M. (1975). Surveiller et punir. Paris: Gallimard. Hall, S. (1980). Cultural studies: two paradigms. In: T. Bennett, G. Martin, C. Mercer and Krabbendam, D., Schwarz, M. (2013). Sustainist Design Guide. Amsterdam: Bis Publisher. Kretzmann, J. and McKnight, J. (1993). Building communities from the inside out: a path toward finding and mobilizing a community’s assets. Evanston, IL: Center for Urban Affairs and Policy Research Neighbourhood Innovations Network. Manzini, Ezio. (2012). “Resilient Systems and Cosmopolitan Localism – The Emerging Scenarios of the Small, Local, Open and Connected Space.” CNS Ecologia Politica. Retrieved from: http://www.ecologiapolitica.org/wordpress/wp-con tent/uploads/2014/03/Resilient-systems-and-cosmopolitan-localism.pdf. Marenko, B., Brassett, J., eds. (2015). Deleuze and Design. Edinburgh: Edinburgh University Press. Mignolo (2011). The Darker Side of Western Modernity − Global Futures, Decolonial Options. London, Durham: Duke University Press. Norman, Donald A. (2004). Emotional design: Why we love (or hate) everyday things. New York, NY: Basic Books. Polanyi, M. (1966). The Tacit Dimension. New York: Doubleday & Co. Ponty, M. (1964). Le visible et l´invisible. Paris: Gallimard. Pye, D. (1968). The Nature and Art of Workmanshipe. London: Herbert Press. Sachs, Wolfgang (ed., 1992).The Development Dictionary. A Guide to Knowledge as Power. Zed Books Ltd: London and New Jersey. Schön, D. (1987). Educating The Reflective Practitioner. San Francisco: Jossey-Bass Publishers. Thackara, J. (2005). In the Bubble − Designing in a Complex World. Cambridge, London: The Mit Press.

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 198 Art Projects with a Groups of Women Potters of Cape Verde: Air in the Sea and Save the Waters

Virgínia Fróis Faculdade de Belas Artes da Universdade de Lisboa

VICARTE-FBAUL Lisbon, Portugal [email protected]

ABSTRACT In this paper I intend to present my recent research by focusing on two art projects, both developed with groups of women potters of Cape Verde. These women were considered the last generation of potters, and their knowledge was the result of the continuous work of many generations. Over the last decades of the XX century, the production of pottery works has declined due in part to the change of habits within the island’s community and the women potters have ceased their production. During my art residency at the of Santiago island, we have shared knowledge about technicques of pottery and from that encounter we agreed to raise a first project based on their experiences in order to highlight the material culture and the identity of this local community of Santiago. The first project, Guardar Águas/Save the Waters (2006), was developed to promote the rescue of traditional pottery and led to the foundation of the Center for Arts and Crafts of Trás di Munti, in Tarrafal. The project Ar no Mar/ Air Breath in the Sea (2014) takes the same approach, by encouraging the development of local arts, promote their future sustainability as well as make peripheral sites visible . Artistic practice in such terms raises questions such as the construction of shared identities through the interaction of different sets of knowledge.

Keywords: Art, Pottery, Cultural Heritage.

Figure 1. Left – Terracota Man-dog by Isabel Semedo; Right - Trás di Munti: da olaria os retratos e os lugares. Photography of potter Isabel Semedo by Tiago Fróis.

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 199 Virgínia Fróis

INTRODUCTION

Figure 2. New ways of basketmaking and pottery: Left – Baskets for carrying pots; Center – Order for the designer Lisa Faye Hames; Right – Clay beads ordered by the jeweler Ana Marta Clemente.

In this communication I intend to present my recent research by focusing on two art projects, both developed with groups of women potters of Cape Verde. My research practice is intertwined with my experience as an artist, as a cultural assistant and teacher. The projects incorporate these three aspects of my practice, which I consider as a valid background experience to work with. Cultural heritage has been a major subject in some of my projects, in which I explore the interconnection between present and past. I understand art as the terrain for the sharing of knowledge and a way of enhancing the presence of the cultural heritage. In this context I am interested in the essential and simple things of everyday life, so I am always willing to create meaning with what is available to all and what may connect each other’s ideas in order to raise a communal project. For a long time, the ceramic sculpture occupies a prominent place in my work, since it highlights associations with the issues of cultural heritage, the feminine universe, and its symbolic value. Such combinations echoes in us the timeless and silent origins in the history of humankind. During my artistic residence in the Santiago island, in Cape Verde, I came across with traditional techniques of pottery that I learned from the local ancient women. These women were considered the last generation of potters, and their knowledge was assumed to be the result of the continuous work of many generations. They were mainly two families and the oldest woman was 106 years old. The island was once known for the handmade pottery manufacturing, an activity exclusively attributed to women, who had the task of making utilitarian pottery for their homes as well as making it as a way of living. But the production of works has declined during the last decades of the XX century due in part to the change of habits within the isle community. While we exchanged knowledge about techniques of pottery we agreed to create a first project based on their experiences in order to highlight the material culture and the identity of this local community of Santiago. In the following paragraphs, I will contextualize the geography of the island and the relatinships of the inhabitants with the surrounding environment. Within such framework, I will describe the processes that led to the raise of the CAO – Centro de Artes e Ofícios, and the materialization of the mentioned projects.

THE FRAME OF OUR WORK – TRÁS DI MUNTI AND THE WOMEN POTTERS

On the northern ridge of Santiago Island (Fig. 3) is a peninsula that ends at Mount Graciosa with 643 metres of altitude. The surface of the phonolites goes as far as the reliefs of Trás di Munti, which dominate a structural surface of extensive outcrops of sedimentary materials and deposits of clay. In demographic terms, the region includes 1057 people, ‘badios’ – designation given to slaves that escaped to uinhabitated and isolated locations – and a few families of ‘rebelled' – closed communities that are based on principles of great austerity, very much connected to earth and to a sense of origin and belonging – holders of the domain of the arts of pottery, weaving and basketry.

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Art Projects with a Groups of Women Potters of Cape Verde: Air in the Sea and Save the Waters

Figure 3. Map of places, interpretative center and cultural tourism routes.

Pottery made by women was developed in this territory according to ancient techniques with African origin, one of the best pottery centers in Cape Verde,with the water vessels being the most characteristic pieces. The production of pottery was the main source of income for women, becoming also the way to access other goods like education and food. This activity decayed in the middle of the 20th century and became a factor of devaluation and impoverishment. This very isolated community has a growing emigration and is one of the poorest of Cape Verde.

STARTING QUESTIONS, THE FRAMEWOK OF ACTION AND THE INSPIRING LITERATURE

Figure 4. Moringa vase and water pot. Pickup by Antonio Carreira, collection of the Museu Nacional de Etenologia de Lisboa (Lisbon Nacional Ethnology Museum).

The work I have proposed to develop is based on the underlying hypothesis of the creation of a model of sustainable development based on the values of the local culture. The pottery produced by women (Fig. 4) constitutes the core of the action, using mediation by putting the female potters and the technicians and specialized investigators in contact in order to develop the conscience of oneself and the other in a creative and dynamic attitude capable of generating ideas. The starting point raises some questions: How can one reinvent this peripheral community starting from pottery and women? Can it be a place for innovation, fixation and transit? How can a territory where emigration is the escape from poverty change this paradigm and receive the new ones? In what way can one interact with the Portuguese discoveries and contribute to integrate it in the community of origin based on this experience? The projects I have developed with the women potters were undertaken in a multidisciplinary basis, by bridging the knowledges between the artistic production and the scientific investigation. The design for sustainability values folk productions as the way of interacting with the natural world, promoting social and cultural wealth. This attitude understands a tight cooperation between the environment and the creation of artistic, economic and social value. Indeed, the connection between art, science and heritage has been widely approached, and not only by the contemporary artistic practice. In what concerns to my art practice, I have previously been engaged with some experiences I had successfully developed in the scope of cultural projects

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 201 Virgínia Fróis combining art and defense of the architectural and natural heritage, as in Montemor-o-Novo with the Association Oficinas do Convento1 (OC). Among the diverse projects carried by OC, I highlight the rehabilitation of the Telheiro da Encosta do Castelo in 1996, a production unit for ceramic materials used for construction. These elementary ceramic materials are the construction base of the main buildings of the city and its historic centre. In the project of the Telheiro, new technical applications on sculpture have flourished and enabled the conception of ceramic works of big dimensions for the urban space. The OC have held sculpture symposiums (Fróis, 2001), promoting the exchange of reflexive practices that brought new possibilities into the field of sculpture. The participant sculptors and the art students were able to benefit from a new filed. The Project River (Frois, 2005), which was developed afterwards, widened the experimental field of art to the river, with the development of activities that crossed science, approaching investigators, artists and students in common projects. The results were published and widely discussed and evaluated, contributing to the designation of Montemor-o-Novo as Creative City. Concerning specifically to contemporary ceramics, I have as main reference the terra-cotta sculptures by the Mexican artist Gabriel Orozco, that, according to Benjamin Buchloh (Buchloh, 2006) imply a return to the artisanal production of sculpture, invocate the primitive practices for the production of utilitarian objects and give the practice of sculpture an archaic cultural value. In the universe of Portuguese art, I pinpoint the terra- cotta sculptures by Jorge Vieira as the main reference, since “these sculptures passes by the attraction, the capture of something that comes to us as primitive, almost archaic, but transhistorically present in the historic and contemporaneous being that we are” (Gusmão in Oliveira, 2007). Regarding the investigation on the technical fabrication processes of manual ceramic, there is a multiplicity of ethnographic and ethno- archaeological studies that describe in detail technical processes in several pre-industrial communities. From these we highlight the doctoral thesis Traditions Céramiques, Identités et Peuplement en Sénégambie. Ethnographie Comparée et Essai de Reconstrution Historique (Sall, 2005) and the publication Smashing Pots from the British Museum, that has showed the importance of the study of ceramic production for a reflection about the societies in several African groups and finds interesting metaphors for the body in ceramics (Barley, 1994) either at the level of their constituent parts or in the forms and attributes related with the theme of fertility present in many pottery traditions. On the other hand, the catalogue of the exhibition Vellés du Niger (Devisse 1993) gives us information about the archaeological value of the terra-cottas in Niger Valley. The participative system is a way of interaction between partners and it is used to improve the life of organizations in the sense of making them more sustainable. This technique of immerging in a community comes with the purpose of reaching social, technical, economical, and environmental benefits. The social innovation aims to contribute with a proactive attitude conceptually elaborated and applied to the visible reality.

THE PROJECTS

Guardar Águas (Save the Waters) The project Guardar Águas involved the participation of the municipalities of Tarrafal and Portuguese municipalities of Montemor-o-Novo, as well as of other government entities in both countries, including the Fundação Calouste Gulbenkian. I started this research in the artistic residence Guardar Águas, 2006 to 2008, in Trás di Munti, municipality of Tarrafal de Santiago, Cape Verde.

1 www.oficinasdoconvento.com Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 202

Art Projects with a Groups of Women Potters of Cape Verde: Air in the Sea and Save the Waters

Figure 5. Master potters that passed the knowledge: Left – Pascoalina Borges with polishing stone; Center – Isabel Semedo engraving pot; Right – Saturnina Tavares modeling a pot.

The project was sucessfully developed and led to the restart of the pottery work and the development of ar work by the women potters. The pottery activity and the artisitic activity have ceased long ago as well as I mentioned early in this paper. Firstly, I have followed an exploratory methodology based on the observation, direct contact and have exchanged pottery experiences and family stories with the group. These have provided descriptions about the artistic production of female potters in the socio-economical conditions of families that have been developing this knowledge through women as a feminine transmission chain (Fig. 5). In a couple of sessions, the female potters exposed, demonstrated and resumed the traditional transmission of methods of knowledge within of the family. From that, we have worked as a team, proposing different techniques to address diverse shapes. The ceramic sculpture installation came from our conversation as we exchanged and shared pottery practices. Indeed, gestures and relation to the body and the clay material have always been present in the pottery activity, whether through the mark-making print with fingers or the final dimensions and sizes of the clay pieces. From this common agreement we have worked clay pieces which knowledge had been carried from past generations. The strategy we have followed also included the dissemination of the work to the community of the island, which had a very positive impact with significant benefits for the self-esteem of the people involved as well as for the safeguarding of the local culture. This contact allowed the evaluation of the local conditions, the receptivity of the community towards the interaction with artists and investigators in studies that deepen the several fields.

Figure 6. Community involving Artistic residences: Left – Project Mala in Trás di Munti, Cape Vert, by Maria Remédio; Center – Isabel Semedo and Saturnina Tavares in the experimental workshop for artists in Telheiro da Encosta do Castelo, Montemor-o-Novo, Portugal; Right – Zi teaching the art of making Binde (used for the steam-baking of couscous flower) in the Oficina da Criança, Montemor-o-Novo, Portugal.

From such projects I highlight the participation of the artists Maria Remédio, Carolina Silva, Marta Castelo2, and Joana e Rudolfo Pimenta, and João Bastos3 that associated themselves to the work, by developing their practices in the scope of visual arts and writing with the schoolchildren (Fig. 6). In regard to the creation of documentaries, I

2 Mala com Pés (2008) https://vimeo.com › Maria Remedio › 3 Fotograma 24; Nôs terra; http://vimeo.com/32038313#

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 203 Virgínia Fróis mention Pedro da Conceição4 and also the artist Tiago Fróis5 with the photographs about the local daily life. One of the results achieved through this process of mediation was the creation of the Arts and Crafts Centre6 held by the municipality of Tarrafal, inaugurated in 2009, whose annual programming has been done together with Oficinas do Convento in Montemor-o-Novo. This channel has allowed the realization of activities of institutional cooperation: creative residences in Portugal for seven female potters and one basket-maker that involved plastic artists and the Capeverdian emigrants of Quinta da Serra (2007), Cova da Moura (2013) and Monte da Caparica (2015). Two academic works were linked to this mediation experience in Cape Vert, namely in the scope of the anthropological research and the research about the local geological resources. The anthropological research conducted by Pedro Granha (2007) an operative chain developed in the Internship Report of the course-work of anthropology of U Nova, and the dissertation of Tânia Madureira (2012), offering an analysis of the practices and the discourses of defense of the patrimony and the traditions, respective dynamics of inclusion and exclusion.

Ar no Mar (Air Breath in the Sea)

Figure 7. Project Ar no Mar: Left – Exhibit in the S. Francisco church in the Cidade Velha, Cabo Verde, with the participant potters; Center – Story column from the pottery workshop of Isabel Semedo (2016) proposed by Pedro da Conceição; Right – Aspect after sea-submersion of one of the Rings.

The project Ar no Mar/ Air Breath in the Sea (2014) is an ongoing project that runs in partnership with CAO. I assume that artistic projects can encourage the development of local arts (Fig. 7), promote their future sustainability as well as make peripheral sites visible to a larger community and contribute to a more deep understanding of others and ourselves. In another way, artistic practice in such terms raises questions such as the construction of shared and mirrored identities trough interaction, thus finding of ways that promote mutual knowledge, connecting people together and make shared ideas to happen. Bearing this in mind, the project allows these women to make their work visible in a global world, while assuming their ancestral pottery practice as an existing present daily activity. The project also contributes to nourish the sustainable and autonomous activity run by the CAO and local community. The project is inspired by the work of Edouard Glissant , the Poetics of Relation (Glissan,1980), the Brancusi monument Tîrgu-Jiu (1938). In his book, Glissant speaks of a line of tabs in the seabed, composing a route traced by the ones who have died in the sea. The Monument Tîrgu-Jiu remind us of the first war victims, brings the memory of this event to everyone in the defense of Jui River. Within such frame of thoughts and intentions, the

4 Saturnina faz um pote (2007);Terra de Barro (2007);Simplício faz um balaio(2008); Simplício (2008); Nhó Eugénio (2013); Esculturas leves http://vimeo.com (2008); https://www.facebook.com/photo.php?v=693702647348507 Nhú Eugénio véspera salvé rainha; Ar no mar (2017) https://youtu.be/LtT6mCUzbi8 5 Trás di munti: da olaria os retratos e os lugares 6 Facebook CAO Centro de Artes e Oficios de Trás di munti Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 204

Art Projects with a Groups of Women Potters of Cape Verde: Air in the Sea and Save the Waters work we have developed became a reminder of the every day’s euro news of the tragedies of the shipwrecked people who try to reach Europe from North of Africa dreaming of a better life. The references to everyday news of the unsuccessfully people trying to reach Europe by sea are related to their unhealthy and poor conditions of surviving, without air to breath, reminding us the lack of dignity of them when suffering deportation.

Figure 8. Kiln-making process: Left – The potters set the pots according to the traditional way of burning; Center – Observing and feeding the fire with dried cow feces and corn-straw; Right – Ceramics and ash, the pots sing.

The art project was designed in several levels following a participatory model which was developed with the local community and for the local community. In January, we modeled channels containing symbolically breath air, a sort of sets of pipes, containers of air or columns, whose shape opens and shuts, spreading a spiral movement towards the infinite, linking by this composition the emerged and submerged world, an Axis Mundi. The creative process has been worked from the relationship built between us, from the stories of life shared, mostly rooted in the pottery activity or in other arts. The work is being built in the bases of the shared experiences, modes of interaction and diversities of ideas, forms developed by each of us, thinking and testing pottery processes, measuring our bodies to establish dimensions, combination and pilling modeled pipes, building a shared space as a metaphor.

CONCLUSIONS

Figure 9. Extensions and conclusions: Left – Fine Arts students from the University of Lisbon and social organizations from Cova da Moura and Qunita da Serra, Portugal. Ceramics Laboratory: Joana Alves and Duarte Martin; Center – Oto Hudec artistic residence Making Islands, Tarrafal, Cabo Verde; Right – Gift pots, Tarrafal fair, Cabo Verde.

With the projects Guardar Águas e Ar no Mar I aimed to start the building of interpersonal relations of the different agents involved since these is the basis for the quality of the reached artistic production. Moreover, such a fact is connected with the current conditions of women’s sustainability and so there is the need for the further development of CAO. In the future, the articulation with the local resources and the family history of emigration will be evaluated by an analysis based on this methodology of family histories. Such analysis will allow offering a scientifically solid context for the development of the artistic works of the whole. The artisitic interventions of the women potters will continue and will strengthen the direct contact between the local community and the team of investigators that will integrate the ongoing project. This attitude of sharing and participation promotes the development of ideas and social sustainability, thus fulfilling the acting premise on a level of global development for the surrounding community.

Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 205 Virgínia Fróis

We have started to build a knowledge based on the researches made in the scope of the project by the team's investigators or hired investigators, with results like masters’ dissertations Tânia Madureira and contributions of the doctoral thesis by Sara Navarro7 and Oto Hudec8 .The work in progress from this investigation has been communicated internally and externally along the project, particularly in Cape Verde where we will seek the collaboration and participation of the scientific and artistic community. The interaction between investigators in the fields of science, art, and design will suggest hypothesis and present data that result from different points of view, as a factor of innovation in contemporary art. The reasons for pursuing such plan are clear: The study of the materials and the techniques that have been evolving in a Creole fashion through a scientific and artistic speech is yet to be initiated. There is also a public in general, both local as international, which is interested in some of these issues in a less systematic way. It is important to distinguish the groups of emigrants that left Europe and that have their roots there.

REFERENCES

Fróis, V. (2001). Habitar 2001. 3º Simpósio de escultura em terra(cota). Montemor-o-novo, Portugal: Oficinas do Convento. Fróis, V. (2008). Projecto Rio, Arte, Ciência e Património. Montemor-o-novo. Portugal: Oficinas do Convento. Fróis, V. Henriques, E. B. & André, I. (2005) Engendering a creative milieu Arts and local development in Montemor (Alentejo) – Proceedings of the 41st ISoCaRP International Congress BILBAO, Outubro 2005 Buchloh, B. ; Bois, Y. ; Fer, B. (2006). Gabriel Orozco. London, England: Thames and Hudson. Oliveira, L. (2007). Jorge Vieira. Lisboa. Portugal: Editorial Caminho. Sall, M. (2005). Traditions Céramiques, Identités et Peuplement en Sénégambie.Ethnographie Comparée et Essai de Reconstrution Historique. Oxford. England: Archaeopress. Barley, Nigel (1994). Smashing Pots. Feats of Clay from Africa. London, England: British Museum Press. Devisse, J. (1993). Vallés du Níger. Paris: Édicions de la Reunion dês Musées Nationaux. Glissant, E. (2011). Poética da relação. Lisboa, Portugal: Porto editora Grenha, P. (2007). Relatório do Estágio da Licenciatura em Antropologia: Olaria tradicional de trás di munti: um ensaio. Lisboa: Universidade Nova de Lisboa. Navarro, S. (2014). Potes e Transfigurações: a arqueologia como pretexto para a escultura. Lisboa: Faculdade de belas artes Universidade de Lisboa. Madureira, T. (2012). A revitalização da olaria em Trás di Munti e os seus significados locais Loiça pintada não é património? Dissertação de Mestrado. Coimbra. Portugal: Universidade de Coimbra. Glissand, E. (2003). Poetics of Relation. Trad. Betsy Wing de Poétique de la relation. Michigan: The University of Michigan Press

7 www.saranavarro.pt; http//fbaul.academia.edu/sSaraNavarro 8fishisflying.blogspot.pt; Oto Hudec pintura mural "O Arquipélago”; https://vimeo.com/85244533; https://www.facebook.com/photo.php?v=695556867162314 Proceedings of the Rhizomes 2017, Funchal, Madeira 24-27 October 2017 206

Workshops

The Right to Design: merging boundaries #1: from “mainstream” to “exclusive design”; #2: From “exclusive” to “inclusive design” By Paula Trigueiros, Universidade do Minho, Portugal Abstract The “Right to Design” states that the benefits of well-designed products - being it functional, emotional or any other - should be available to anyone. We are calling talented, curious designers for a “hands on” workshop, to address two specific challenges and discuss some contradictions that emerge from labeling designs.

Lines in motion. Insights on the creative process of the collaborative animation By Elisa Bertolotti, University of Madeira, Irina Suteu, Simon Drouin and Jacopo Martinoni Abstract The workshop “Lines in motion” aims to extend the boundaries of personal expression, introducing an immersive collaborative experience that leads to the shared authorship of the final animated artefact. During the workshop “Lines” will be used to improvise a collaborative animation film, drawing frame by frame in connection with designers and animators from Italy and Canada. For technical reasons you can sign up for this workshop until October 20th. Max 12 participants.

DECOLONIZACTION By Anna Giudice, PhD researcher at University of Iceland and Lecturer at Iceland Academy of The Arts. Abstract The DECOLONIZACTION workshop explores solutions for addressing the imposition of Eurocentric narratives in current design practice and how to apply these solutions into the process. We will use a set of tools that will draw attention to metaphors and narrative structures within the participants’ conceptions of Western canons.

Moving life in circles: communication & design for a circular economy By Isabel Farinha, Cristina Pinheiro & Ana Margarida Ferreira, UNIDCOM/IADE – Universidade Europeia Abstract The specific aim of this workshop is to demonstrate through some case studies the different ways in which companies can benefit from circular business models and which communication and design tools are needed to shift organizations in this direction. The knowledge gained from the workshop will be used in the development of the UNIDCOM/ ID:Co.Lab research unit as driver principles for innovation. This constitutes an active learning opportunity and is intended to instigate meaningful learning and thoughtful reflection about your own participation in the circular economy.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 206

Situational Methods in (Graphic) Design By Denise Gonzales Crisp, College of Design, North Carolina State University & Nida Abdullah, Michigan State University. Abstract In the effort to anticipate the role of (graphic) designers in the 21st century, the matrix “Principles of Organization” — authored by design planning guru, Hugh Dubberly, and College for Creative Studies MFA Interaction Design Chair, Paul Pangaro — distinguishes characteristics of our information age from those of the industrial age. Whereas the latter focused on mechanical processes and objects, today designers are necessarily applying organic processes toward designing systems. From this premise, the authors extrapolate designer roles and artifactual results: from authorship to facilitation; from making independent decisions to building agreement; from artifacts that are “almost perfect” to “good enough for now,” and that are “less predictable,” adapting or evolving in varying contexts. These shifts require revisions to design practices (and pedagogy) within studio contexts that foster acceptance of change and comfort with uncertainty. Improvisation, ad hoc practices, creative use (and misuse) of theory, are ways of cultivating flexibility, responsiveness, emergent, and divergent thinking and making. This workshop and forum invites educators and practitioners to meet others who, 1) have found that arranging post-it notes is not the only means of understanding complexity, and 2) who might also be devising innovative, relational methods that expand upon naturalized, design-oriented skills in problem solving.

Identifying opportunities for collaborative German-Portuguese User Experience and Design Thinking research By Danny Franzreb, Hochschule Neu-Ulm University of Applied Sciences Abstract The workshops aim is to identify research opportunities for collaborative design research projects. It will be based on the demands of leading design professionals and organizations that have been interviewed beforehand. Participants will use Design Thinking methods to generate first ideas that can be examined further in collaborative projects after the workshop.

Senses & Sensibility for Social Innovation and Sustainable Behavior: Sensing New Design [Higher Education] Landscapes By Ana Margarida Ferreira, Isabel Farinha, Cristina Pinheiro, Nicos Souleles & Hugo Rocha Abstract New academic endeavors and research ventures able to address the new societal challenges on social innovation and sustainability domains are needed. With this awareness, this workshop intent to promote the reflection on design curricula and boost critical thinking about current teaching and learning methods, courses of action to foster social change or new emergent pedagogical tools, methods and approaches - from design-driven research, impact analysis and participatory practices, important to all agents concerned with social change, design practice and, design education. Supported by interdisciplinary case studies and through shared empirical knowledge and creative technics such as brainstorming, mind mapping or thinking hats, the proposed workshop aims to make emerge some critical issues, underline sensitive topics or explore new interactions to support and/or create new knowledge for a more meaningful design learning experience and a more sustainable future.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 207 Design, Social Innovation and Collaboration

Teresa Franqueira

a Universidade de Aveiro b ID+ DESIS Lab Aveiro, Portugal

ABSTRACT

Please Design for the people.

Design and Innovation are inextricable. There is no design project without innovation neither effective innovation exists without design intervention.

For its humanistic and cultural aspects besides the technical ones, Design has been following the technical, social and cultural changes, adapting, acting and shaping the artificial world in which we live.

And the world has changed in the last decade whether we consider environmental, technological or economic transformations, or, even more significantly, whether we look at the social ones. The lack of policies adjusted to tackle those transformations and the need to adapt and develop systems able to structure the social, economic, and cultural fabric towards the transition to a more sustainable development model have given birth to a diffuse phenomenon of collaborative communities in which individuals collaborate between them to produce the outcomes that the traditional welfare state does not seem able to deliver. This is an emerging phenomenon arising from different forms of creativity and aimed at tackling the challenges posed by the limits of the existing socioeconomic model.

Design with the people.

Considering that design has played an instrumental role in the creation of the current system of consumption and its environmental consequences, shouldn’t it be promoting its re-invention, departing from more sustainable principles? That re-invention could be done namely through the empowerment of social innovations and the services created at grassroots level, or by the redesign of top-down initiatives that in its original form have failed to deliver the results needed. It has been the capacity for adaptation that makes Design resilient and transversal to all other disciplines and it is not surprising that design has also a growing and important role to play in social innovations and as a driver for radical systemic innovation.

Design by the people.

When we put people/users at the centre of the design activity we have to consider new ways of working in which the designer incorporates users’ collaboration. And this collaboration should result in a fertile ground for the development of new ways of doing things, the development of creativity hubs and social labs where new and alternative ways of doing and living more sustainably can be tried and essayed.

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Design After Neoliberalism?: Reconstituting its Borders, Rewording its Practices

Guy Julier University of Brigton, UK

ABSTRACT

Much has been written and spoken about the possible end of neoliberalism in recent years. There is a certain irony here as it's only in the last few years that we've begun to talk about it, let alone begin to understand it. So while neoliberalism continues to march on -- now in a kind of zombie state -- we might begin to think about what post-neoliberal worlds would like. And we might also think about what design can function successfully therein.

The rise of design since the 1980s is undoubtedly tied to successive waves of neoliberalisation around the world. Indeed, design has been a foot-soldier in this process, making things appear reasonable and doing the softening-up for capital. In this, hinterlands or peripheries then become new markets where even bodily disposition are altered through design. Borders are altered. They become fuzzier with less demarcations in many ways.

Design culture, in neoliberalism, is set up as a constant state of becoming. Constant processes of change are necessary in order to provide technological and spatial fixes. Products and spaces are thus designed with this in mind. Thus the design profession itself unfolds in responsive, improvisatory ways where new forms and formats are constituted.

It's going to take a long time, but it does seem that gradually, bit-by-bit we might be moving toward post- capitalist worlds. I put 'worlds' in the plural because this is a sporadic, fragmented process where there are failures, successes, partial-successes -- all part of their experimentation.

A key part of this, I want to argue, is the emergence of a more reflexive form of design. This is where the structures of its own making are laid bare.

In so doing, new geographical contexts might be defined and new ways of telling its practices may be discovered. Within this, however, it will be necessary to design into itself its own limits in order to ensure its resilience while also allowing for elasticity.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 209 An Exploration of Transgressive Design

Thomas Pausz

Iceland Academy of The Arts

ABSTRACT

In all fields of Arts, we find works, which are transgressive. We consume films and series, which deal with taboo topics such as drugs, violence, or stories of outlaws. These are an essential element of our culture as they allow us to face the limits of humanity and to exorcise aspects of human life considered out of the norm. In photography we can cite the much debated work of Sally Mann, and in literature the visual hallucinations of Georges Bataille in his seminal novel The Story of the Eye. These transgressive artistic practices push the boundaries of our daily experience, and allow us to reflect on what it is to be human.

The field of design is currently expanding to embrace materials, topics and working methods going beyond its initial impulse as a discipline servicing industry. In this cross-disciplinary movement, designers are questioning the limits of their territory, and finding a new voice within culture. In this presentation I will explore the transgressive potential of design, in dialogue with other disciplines and art forms. I hope to show that this questioning of our own borders as design practitioners also allows for new ways of relating to the environment.

The central intuition in this journey is that ´knowledge is to be found at the edge of experience and the body is the site for gaining knowledge.´ 1 Following this intuition, I want to underline the essential role of borrowing from other disciplines to push the limits of design, particularly from disciplines creating new perspectives on the human body, which is our first tool. Looking at past and current practices, my aim is to identify and discuss several figures of the designer as border-crosser: the material story-teller, the cross-cultural ´cannibal´, and the body without species.

1 (The New York Times — April 23, 1995, pp. 49, 52)

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Understanding Islandness: A Journey in Five Steps

Godfrey Baldacchino University of Malta

ABSTRACT

All islands are different, yet they share patterns that lend themselves to comparative analysis. Based on almost two decades of researching and advancing ‘island studies’, this paper seeks to unpack the constitution of what makes an island – islandness – into five constituent components: small size, boundedness, isolation, fragmentation and ‘abc’ (amplification by compression). It is the recognition of the effects of these features, alone or in combination, which allows us to better understand island life, in its myriad forms and inspirations, and thus foster conditions for island-inspired creativity and design. Consequences of islandness include natural and cultural uniqueness (often exoticised by and for tourism), identity and nationalism.

INTRODUCTION

Islands have been stubbornly at the front and centre of the human imagination for a long time. The smallness, boundedness, isolation and strategic location of most islands – across both worlds of materiality and fiction – have rendered them the subject of myth and lore, both sacred and profane, places of both respite and danger throughout long periods of history (Trompf 1993, Gillis 2003). The sanctuary afforded to Leto, pregnant with wanton Zeus’ twins, on the island of Delos; the island landings of wanderers Ulysses of Ithaca and Aeneas of Troy (and later, founder of Rome) in their multi-year journeys across the Mediterranean and Aegean seas after the Siege of Troy; the journeys of St Brendan and other Irish Monks to the Hebrides, Orkneys, Faroes, possibly to Iceland and even perhaps as far as Newfoundland, Canada; the exploits of giant Ymir in the ‘land of fire and ice’ that is Iceland as narrated in the Norse myths of the Poetic Eddas; the island hopping adventures of Portuguese sailors down the coast of West Africa, and eventually past the Cape of Good Hope and onward to India (and the land of spices, and still more ‘Indian islands’, hence Indo-nesia); Thomas More’s Utopia (1516) and Daniel Defoe’s Robinson Crusoe (1719), two semi-fictional accounts that both gave their names to literary and film genres; down to the Jurassic Park franchise, first depicted in the novel of the same name (Crichton 1990) and the blockbuster TV series Lost (2004-2010) with most of the action unfolding on an island that held a secret deep in its core. ‘The island’ has become one of the multi-layered and timeless metaphors for human existence (Le Juez and Springer 2005, p. 1), catapulting island spaces as premier alluring tourism destinations.

That islands have secrets waiting to be discovered was not lost on the natural and human sciences. Charles Darwin was pleasantly surprised by the discernments that islands and archipelagos could provide to zoogeography. Half a world away, Alfred Wallace reached a similar conclusion: together they proposed the basic principles of the theory of evolution. Margaret Mead travelled through island Melanesia to find out about ‘primitive’ practices of adolescence and family life that could shed insights on the malaise of Western civilisation. Experiments involving mangrove ‘islands’ in Florida led Daniel Simberloff and Edward Wilson to validate features of the ‘theory of island biogeography’ (Simberloff and Wilson 1969, MacArthur and Wilson 1967). The Icelandic horse (Equus ferus caballus), the extinct pygmy elephant from Sicily and Malta (Palaeoloxodon falconeri), and Homo floresiensis (the ‘hobbit’ from Flores) provide evidence of island species dwarfism; while the Komodo dragon (Varanus komodoensis) and the giant Fijian long-horned beetle (Xixuthrus heros) are exemplars of island species gigantism.

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DEFINITIONAL CONUNDRUMS

The planet currently has some 80,000 permanently inhabited islands, on which live some 600 million humans: some two-thirds of these on Java, Honshu, Great Britain, Luzon and Sumatra alone. This collection of ‘our world of islands’ comprises enormous differences in land area, geology, climatic conditions, biota, histories and cultures. There are also seasonally inhabited islands; temporary (or part-time) islands, given tidal effects (Mont St Michel, Lindisfarne); overwhelmingly urban islands and island cities (Singapore, Hong Kong, Manhattan, old town Stockholm); still others constructed or ‘augmented’ by humans from sand or concrete (Okinotorishima, Fiery Cross Reef) or, Utopia-like, resulting from collapsed land bridges or the carving out of isthmuses/narrow necks of land (Euboea). Some other islands are ‘drowning’ while others are ‘appearing’: Kutubdia is one of various islands being devoured by the sea in the Bay of Bengal, Bangladesh: the island has roughly halved in size over the last 20 years as the rising waves overwhelm houses and fertile farmland. Meanwhile, Shelly Island has formed near Cape Point, North Carolina USA, in 2017, with a high tide or storm-driven water elevation that piled sediment up to near the surface of the Atlantic Ocean (Owens 2017, Coffey 2017). Many more islands and islets are uninhabited, surviving as relatively undisturbed ecosystems; while, in sharp contrast, Manhattan, Malé and Malta count among the world’s most densely populated islands.

Other islands have been destroyed in the course of natural action: think of the volcanic explosions that obliterated Thera (now called Santorini) some 4,000 years ago and Krakatoa in 1883 ... while others have been born de novo out of similar natural action: at least nine new islands have thus formed in the last 20 years (Stevens 2016). Humans have been just as busy meddling with island formations: damaging and destroying islands with nuclear tests – Bikini Atoll, Marshall Islands, remains uninhabitable sixty years after 23 nuclear detonations (Macdonald 2016) – while building others for the affluent and famous who crave exceptional and secluded spaces, such as the Palm Islands in Dubai (Jackson and Della Dora 2009). Finally, islands can also be bought or sold: Farhad Vladi will gladly assist (Vladi 2017).

One might be excused for thinking that defining an island is a self-evident, even a sterile and philosophical task; but is actually notoriously difficult; yet the question ‘what is an island?’ should continue to be asked (Baldacchino 2012a, p. 60). The geographical definition of islands – as being pieces of land surrounded by water (even at high tide) that are smaller than a continent – is extended by biologists who consider mountaintops, oases, lakes, caves and the like as additional insular habitats (Carlquist 1974, pp. 4-5); in some cases, these exemplars are even more enisled than the water-surrounded kind. Literary scholars remind us of the imagined island spaces of Atlantis, Lilliput, Lincoln and Never Never land (Plato 360BC?, Swift 1726, Verne 1875, Barrie 1915); as well as Villings, where the narrator is, like the island, also a probable invention within the story (Boiy Casares 1964). There is then the much larger trove of fictional genres, where islands feature prominently in popular, gripping tales of crime fiction, thrillers, romance and fantasy (Crane and Fletcher 2017). Others will reminisce over the part-island myth, part-island reality that seep through such riveting, timeless novels as Journey to the centre of the earth, Anne of green gables, The godfather and Death of a river guide (Verne 1871, Montgomery 1908, Puzo 1969, Flanagan 1994). Add metaphor to the mix, and other ‘islands’ can be teased out in kitchen designs, dividing roads and in the pancreas. Even for those islands that pertain to the strict material- geographical register, their boundaries will shift and change under the influence of tides, natural erosion or accretion, or human action; their economies and cultures can be impacted by such fixed links as bridges, tunnels and causeways to mainlands (or other islands); and over longer spans of time, they disappear, reappear, adjoin other lands or separate from them. The two land masses of EurAsia-Africa and America behave as super islands when suggesting environmental differences which influence contrasting evolutionary paths (Diamond 1997). It has also been argued that the world’s only islands in geological time are its tectonic plates, “in constant motion across molten seas” (Okihiro 2010, p. 755).

Islands also suffer from a gross essentialisation of their alleged attributes. In academic circles, islands have suffered from a widespread and stubborn incredulity – why should one study islands at all? – while, for others, there is a facile and passionate conviction that islands (and their inhabitants) are naturally (and even totally) different from mainlands (and their people). The former stance – that islands are not a valid analytic category – is a favourite argument of some scholars steeped in traditional disciplines; for them, the ‘island studies’ foray into what may come across as a materialist geography is a distraction from more significant, post-modernist and post-structuralist epistemologies. While the latter position – that islandness sets basic terms of reference, and is an “ontologically secure marker of selfhood” (Whittaker 2016) – is the clarion call and predilection of various political actors who may wish to fan an island-based nationalism, a sense of ‘ethnie’ (Smith 1986) that builds upon what is usually a subdued, but nevertheless often keenly felt, ‘us-them’, island-mainland tension.

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UNPACKING ISLANDNESS

A review of the literature on the patterns and challenges of spatial development in small islands suggests that the emergent distinctiveness of islands – a condition that can also be subsumed within the concept of islandness – can be translated into distinctive patterns of spatial development. Unpacking islandness in this sense gives us the quartet of boundedness, smallness, isolation and fragmentation, along with their “amplification by compression” (Percy et al 2007, p. 193; also Fernandes & Pinho 2017). It is these five space- related variables, and their various and inter-related combinations and permutations, which provide us with the materialist rendition of what islands are, and what they can be. These notions are reviewed in turn below.

Boundedness

The boundedness of islands comes across as their most significant defining feature. The encirclement of islands by the aquatic medium sets the stage for a ‘land-sea’ dialectic: a “terraqueousness” (DeLoughrey 2007) that defines an island’s biome, its history, its economic development, and – in spite of the hubris of modern information and communication technology – may well still predicate its future.

The naturally circumscribed, sea-girt mass suggests easier control and management. The territorial specificity of an island is obvious: does that not explain why there are only ten populated islands in the world that are shared, some with sufferance, between more than one country (Baldacchino 2013)? The condition begets and nurtures notions of hegemony and despotism: in many historical accounts, islands are prizes, there to be taken; although island civilisations, from Minoan Crete and Britain to Venice and Japan, have also nurtured empires. Larger-than-life island politicians have obtained and held on to power by controlling different aspects of social, economic and political life (Singham 1968, Baldacchino 2012b): they blur the lines between personal and political interests in ways that are, alas, all too common in small communities; to the chagrin of continentals who may insist on clear division of powers and role conflict avoidance.

Meanwhile, and before the coming into force of UNCLOS, outsiders have coveted islands not as much for their intrinsic resources or exclusive economic zones but for their strategic location, serving as footholds of expansion to the contiguous interior, and securing vital defensive or forward positions close to perceived ‘hotspots’ (Anderson 2000). The sea makes islands more difficult to invade; though, once invasions take place, they tend to be more difficult to resist: Britain has thus thwarted invasion (and thus resisted conquest) since 1066 AD (Royle, 2001, p. 152); likewise, Cuba under Castro has resisted the US; Taiwan/Republic of China has resisted mainland/People’s Republic of China. The sea also makes islands more difficult to escape from: and so many islands have served naturally as prisons (Alcatraz, Gorgona, Robben, Ognenny Ostrov) and (now) migrant detention centres (Christmas Island, Lampedusa, Lesvos, Nauru). When mythical Daedalus needed to abscond from the island of Crete, he had to take flight with waxed wings.

The water boundary of islands has made them premier sites for experiments, both natural and political. Species that may find difficulty in crossing aquatic surfaces – seeds, snails – may experience only chance and occasional landings on islands; but, having done so, may thrive by occupying empty ecological niches. While, even for species where water is not a barrier – some mammals, most birds – the colonisation of hitherto empty islands (and archipelagos) becomes a story of adaptive radiation and evolving endemism: a celebration of genetic diversity over time, as well as a slate of narratives of extinction.

Nature’s boundaries are porous and will remain so; in contrast, human borders suggest zero porosity – intimating anything less would diminish the power of the modern state – and yet, they will begrudgingly condone leakages. Overlaying the natural land-sea boundary of island spaces with political identity and jurisdictional powers equips islands, and their governments, with the legitimacy of protecting and disciplining their land space and its contiguous maritime zone (Doty 1996). Sub-national island jurisdictions (Bermuda Jeju, Niue) will seek to guard their large oceanic exclusive economic zones (albeit often with the support of metropolitan patron states of which they form part) or lease their use – say, for fishing – to foreign countries; and sovereign island states will maintain an even stronger presence of the state at their air and sea ports, regulating inflows of persons and cargo, inspecting bills of lading, checking passports and stamping visas.

Unless connected by ‘fixed links’ to mainlands, island borders unfold at the beach/shore; and, for islands not that close to other lands, only at the seaport and airport: the latter become the only points of access to or from the island, and suffering from challenges of transportation. The seaport (including cruise ship terminal) and airport are the chokepoints for the flow of the many thousands of tourists who may descend on island spaces, overwhelming local residents through sheer weight of numbers (Baldacchino 2014a).

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Islands do well to remain sensitive to ‘border crossings’: it is because of a ship appearing on their horizon – or of a plane landing in their airport – that their history then changes forever. Think of how Rapa Nui’s long isolation was ended on Easter Sunday, 1722, when Dutch explorer Jacob Roggeveen ‘discovered’ the island. Epidemics, explorers, raiders, colonisers, missionaries, invaders, international investors, consultants, tourists … their movements to and from the island follow a well-worn path.

Smallness

Smallness is a silent feature of much of what passes as island studies. At one end of the size continuum, in places like New Guinea, Greenland or Great Britain, it may be hard for one to feel on an island, and much less to act like an islander. And yet, the 2016 decision by the United Kingdom to withdraw from membership of the European Union (EU) may be seen as part of an ‘island-mainland’ nervousness (Delanty 2017).

Scientific dividers, floors or thresholds to establish the definitive size of a small island do not exist, although they have been proposed (there are similar issues and challenges with the definition of a small state). Land area, resident population and economic heft are three such common candidates; but, again, none of these is unambiguous. Is Greenland, the world’s largest island at 2 million km2 but with a population of less than 60,000, small or large? How to come to terms with places like Kiribati (pronounced Ki-ri-bas), a Pacific archipelago of hardly 100,000 residents but steward over an oceanic space larger than the land area of Europe? It may be a ‘small island state’ in the eyes of the UN, but is it not also a ‘large ocean state’? (Cook 2016) What is the economic value of having thousands of registered companies managing trillions of dollars, as may happen in island financial centres like the Cayman Islands? (e.g. Roberts 1995). And do we not sympathise with Fog Olwig (2007) when she realises that it is impossible to study the communities of the US Virgin Islands, without referring to the larger diaspora of islanders living in New York? Moreover, smallness ushers in dizzy oscillations in economic and demographic trends: net out-migration in a small island society can be turned around into net immigration, or vice versa, with low absolute numbers; one decent investment can transform an island’s economic fortunes (or a company closure could spirit them away just as fast). The people of Nauru may hold the world’s records for having been both the richest and the poorest per capita (Connell 2006), and being so within a relatively short time span.

At the other end of the scale, what differentiates an island from an islet, a reef or a rock? According to the United Nations Conference on the Law of the Sea (UNCLOS), an island must be “a naturally formed area of land, surrounded by water, which is above water at high tide” and must “… sustain human habitation or economic life on its own” (Part 8, Article 121). If not, then such protuberances from the sea are rocks which shall have no exclusive economic zone or continental shelf (UNCLOS 2017). At stake are huge swathes of oceanic waters and their seabed resources.

As islands tend towards smallness – and towards flatness, since high altitude islands have a larger land area than flat ones – their land area tends towards being exclusively coastal. There may, literally, be no hinterland to speak of; thus obliging islanders to interact deeply and intimately with any encroaching parties (apart from interacting intimately amongst themselves) out of sheer necessity. This predicament explains the long, deep and thorough exposure to colonialism and its lingering post-independence on many (now) small island states; or, its lingering so thoroughly as to forestall support for island independence and full sovereignty in other, small island territories. This also explains why the only way out of the tense and toxic mix of political totality, economic monopoly and social intimacy on a small island is simply exile; or, better ‘ex-isle’ (Bongie 1998); relocating to the next town simply will not work.

Isolation

According to Eurostat, the statistical agency of the European Union, an island is not an island if it is less than one kilometre from the mainland (and if it has fewer than 50 permanent residents, is attached to the mainland by a rigid structure, or is home to the capital of an EU state) (Eur-Lex 2012). The proximity variable is meant as a proxy for isolation and therefore the extent to which island life can actually unfold (as against it being a replica of that unfolding on the mainland close by).

Most islands are indeed not too far from the mainland; and a socio-economic study of such ‘near islands’ is in progress (Starc 2019). The majority are termed continental islands: they currently hug the shore line, and they would have been part of the same shore many years ago, before the waters rose and/or their previous land connection eroded or collapsed. Others are located in lakes, in rivers or their estuaries; so, again, these islands

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 214

are very susceptible to and dependent on their immediate mainland surroundings. It is oceanic islands, born out of dramatic volcanic activity or slower coralline accretion, that tend to crop up much further away from landmasses, appearing at the intersection of tectonic plates and/or where coral reefs can grow. Here, isolation is palpable: first, in terms of flora and fauna, and how such species evolve in ways that progressively distinguish them from any mainland cousins; and second, in terms of human settlement, and how communities learn to survive, cope with and seize any opportunities presented by their geographical predicament (Baldacchino and Bertram 2009). Communication – especially where there is no airport and sheltered harbour – can be rare and intermittent; a passing ship perhaps. In other situations, the exoticism heaped on such islands and their biotic exuberance renders them beguiling tourism destinations: many visitors can be drawn in on long haul flights, thanks to that tantalising sea, sand, sun and palm tree.

Effective connectivity is critical to isolated islands and their populations. If they are expected to compete economically, then they must get their goods and services to markets which lie elsewhere, given the absence of plausible markets at home. And yet, such islands must grapple with relatively high transport costs, irregularity of flight or ferry services and/or single monopolistic service provisions (e.g. Roberts, Telesford and Barrow 2016). In such situations, private enterprise can be constrained to operate only as petty self-employment, artisanal craft and trade, and any seasonal opportunity that may fleetingly present itself.

Fragmentation

We may say ‘islands’, but we often really mean ‘archipelagos’, a set of islands that represents a fragmentation of the domestic space. Indeed, a careful examination of the world’s islands reveals that most are actually members of archipelagos, assemblages that range from a minimum size of two (say, St Kitts and Nevis), to over 50,000 in the archipelago sea of South-West Finland, with the Åland mainland being the largest component therein (Depraetere and Dahl, 2007, p.77). This archipelagic condition and its effects on, say, adaptive radiation, has long been recognised in the natural sciences (e.g. Seehausen 2004); but it has been an epistemological blind spot in the social sciences, until recently (Pugh 2013; Stratford et al. 2011), and is now leading to a flurry of research output that is exploiting the fresh and powerful perspective of the ‘archipelagic turn’, with its appreciation of inter-island rivalry, centrifugal tendencies and the jealous safeguarding of the territorial or ‘inner sea’ (LaFlamme 1983; Baldacchino 2016; Roberts and Stephens 2017; Thompson 2010).

Indeed, contemporary scholarship tends to settle upon two rather overworked topological relations of islands. The first presents a clear focus on an island’s singularity, its unique history and culture, crafted and inscribed by the border between land and sea. The second distinguishes an island from a mainland/continent, and dwells on its differences from, and dependencies on, the larger player. The concept of the archipelago evokes a third topological relation that is much less commonly deployed than the previous two. It foregrounds interactions between and among islands themselves. The relation of island to island is characterised by repetition and assorted multiplicity, which intensify, amplify and disrupt relations of land and water, as well as island and continent/mainland.

The notion of the archipelago is now a core concern of the international law of the sea, where the island members of an archipelago are located in such proximity to each other that they can naturally be seen as a unit, assigning them specific rights and obligations, such as designating sea lanes (Sand, 2012). In political geography, the archipelagic lens offers fresh insights on the jurisdiction of Taiwan (Baldacchino and Tsai 2014), the United Kingdom (Pocock 2005, p. 29), Australia’s historically shifting identity/ies as island, continent, nation and archipelago (Perera 2009); and on the consciousness of the Japanese state as a shimaguni (island nation) and its possible bearing on how it tackles tensions in the China Sea (Suwa 2012).

Every archipelago has a centrifugal death wish: “in an archipelago, the temptation is always great, at worst to secede and at best to disregard the political jurisdiction of the centre” (LaFlamme 1983, p. 361). This intra- archipelago dynamic is at the root of uneven island-island politics: how do the (often democratically elected) politicians of multi-island jurisdictions balance the wishes of their various island publics and constituencies with the rationale of hub-and-spoke transport logistics (versus costly repetitive infrastructure), tourism differentiation (versus repetition), complimentary (rather than similar) and cooperative (rather than competitive) economic development trajectories? All islanders know that they experience tense relations with their island neighbours; often made fun of in popular idiom, these tensions and rivalries may find expression in discriminatory practices of various kinds, official or otherwise; and these become more likely if specific islands claim, or are represented as claiming, a linguistic, ethnic, religious, historical, occupational and/or economic status that is distinct from that pertaining to other islands. Island nationalism knows no limits, as various attempts at secession demonstrate: Mayotte (resident population: about 212,000) did not join the other Comoros islands to independence and is now an integral part of France, although the Republic of the Comoros Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 215

continue to claim the island (Muller 2012); Tuvalu (population: 10,000) successfully engineered its separation from Kiribati (population: 100,000) before becoming an independent state in 1978 (McIntyre 2012); Nevis (population: 12,000), failed by a whisker to pass a referendum in 1998 that would have seen it secede from St Kitts (population: 32,000) (Premdas 2000).

Amplification by Compression

It is easy to adopt the notion of the island as microcosm; “a little world within itself” (Darwin 1845, p. 454), a laboratory for similar processes which unfold elsewhere in such profusion and complexity that they could never be as well analysed; a mini-version of the world out there, a synecdoche where the island is a fragment which however stands for the whole. Bellwethers. The miner’s canary. A conveniently located laboratory. Easter island, Earth island (Flenley and Bahn 1992).

Fair enough: but smallness, boundedness, isolation and fragmentation also come together in complex ways. There is a tendency for the local island elite to straddle political and economic sectors; for the operation of a tightly webbed social fabric where residents could be just ‘one degree of separation’ away from each other at worst; for politicians to be neighbours, school colleagues and (for those of us who are academics) past students; for a ‘soft state’ where decisions can be easily traced directly to individuals, who are then held to account, for better or for worse; for personality politics to outperform media campaigns; for familiarity to offer alternative routes to individual satisfaction (apart from the implicitly politically correct legal-rational ones); and where it is advisable not to make enemies, for you may have to live with them for the rest of your life.

Hence the cautionary note: islands are not merely scaled down versions of larger, continental places. They have an ‘ecology’ of their own; which means that islands comprise a target that is suggestive of deserving particular strategies and epistemologies. It does not mean that all islands are the same. Indeed, and echoing Hay (2013, p. 212), every island comes along with an “irreducible uniqueness”. It would also be a far poorer world if islands merely reflected continental goings on at a convenient and manageable scale. And those who approach islands in such a rash, raw and naïve manner may be led to believe, like Lemuel Gulliver, that they have ‘figured’ islands out, and in a short time (Swift 1726). They may never know or find out that they are mistaken (Baldacchino 2008, p. 42).

DISCUSSION

Designers are likely to acknowledge the lure of the island as a privileged inner space, a deduction that kicks in even in the very act of drawing an island. What starts off as a line heading in no particular direction and then starts turning on itself is transformed into a border, strictly defining an inner and outer world. The ‘logic of inversion’ that is involved in this (seemingly innocuous) act of drawing (Ingold 1993) turns “the pathways along which life is lived into boundaries within which life is contained” (Ingold 2008). Separation for transformation is foundational to the contemplation of islands: “To dream of islands – whether with joy or in fear – is to dream of pulling away, of being already separate, far from any continent, of being lost and alone – or to dream of starting from scratch, recreating, beginning anew” (Deleuze 1953: 9).

In my various lectures introducing island studies, I continue to be amazed by the readiness with which, when sked to draw ‘the island’, students of any cultural, ethnic, educational or linguistic background habitually frame and contain whole islands neatly within sheets of paper. They also ascribe a roughly circular outline to ‘the island’, sometimes punctured by the contours of an inlet, fjord or break in the coral reef, to permit a safe harbour to seagoing vessels. This profiling suggests that an island is really a piece of land of the right size, fitting the conceptual and epistemological project – one of refuge, escape, transformation? – to which it is intended to be deployed (Baldacchino 2005). Thus, the island is itself the quintessence of design; the prototype workscape for artists of all stripes; it is an edginess that charts a special space which can then be mentally embraced and accommodated. In the words of Prince Edward Island poet, Milton Acorn:

Since I'm Island-born home's as precise

as if a mumbly old carpenter,

shoulder-straps crossed wrong,

laid it out, refigured

to the last three-eighths of shingle. Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 216

Nowhere that plowcut worms

heal themselves in red loam;

spruces squat, skirts in sand

or the stones of a river rattle its dark

tunnel under the elms,

is there a spot not measured by hands;

no direction I couldn't walk

to the wave-lined edge of home (Acorn, 1975, p. 13).

No wonder that islands also abound as sacred spaces, sites of monasteries and destinations of pilgrimages; a sense of other-worldly exclusivity now being replicated in very worldly upscale hotels and hideouts for the rich and famous (Jackson and Della Dora 2009). But: the same ease of accommodation of the island trope into one’s mental psyche also turns humans into dangerous engineers who, finding themselves on islands, throw away their moral and ethical compass: devising wild genetic experiments; taking on god-like qualities that are doomed to fail; descending into bestiality. Think of The island of Dr Moreau (Wells 1896) and Lord of the flies (Golding 1954). The most consummate landscape artist and civil engineer of all however may be Robinson Crusoe who subjects and bends his desert island to his will, his epic island endeavour serving as a paean to the virtues of unbound industrial and bourgeois capitalism (Hymer 1971). The Robinsonade is the name assigned to a host of derivative stories based on similar victories of man (yes, usually male) over nature (McMahon 2016).

CONCLUSION

It should come as no surprise, therefore, that ‘island studies’ has picked up precisely at a time when many have been led to believe that we are all connected now, thanks to a ‘time-space compression’ resulting from information and communication technology as well as the onset of globalisation and neo-liberalism (Harvey 1999). But we have witnessed a strong counter-veiling movement to this march, driven by populist politics, protectionist economics, and appeals to notions of national identity. Islands matter, and thrive in the contemporary historical moment as specific neighbourhoods within our metaphorical ‘global village’. Islanders however are not insular (Gosden and Pavlides 1994): they tend towards glocal and trans-territorial lives, invariably connected and networked with elsewhere, yet living with particularity and maintaining distinctive cultures. They are living examples of resilience and innovation; yet maintaining pragmatic outlooks on migration (Connell 2013).

This paper has offered a schematic template for analysing the constitution of islandness in terms of five spatial characteristics. While doing so, we however also remain conscious that the island appeal goes far beyond reductionist and materialist understandings of space and place. Mezzana et al (2012) reviewed 412 songs produced in the period 1960-2009, about islands featuring in the lyrics of rock music, their messages clustered under the meta-themes of space, lifestyle, emotion, symbolism and social-political relations. Islands have transitioned from being conceived as prototypes of idealised polities to being deliberately engineered as offshore enclaves where the rules of the parent state need not fully apply (Baldacchino 2014b): in either register, imagination runs riot.

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Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 220 Ilhas mundo, a reinvenção da matéria ilha

Abraão Vicente Ministro da Cultura e das Indústrias Criativas de Cabo Verde

ABSTRACT

A minha reflexão baseia-se em questionamentos concretos sobre os processos e o papel dos saberes tradicionais num contexto em que não se pode mais falar de negação absoluta dos processos industriais de produção.

Como se coloca a questão da interdisciplinaridade em contextos de pouca variedade de técnicas e materiais ou de convivência de rituais e práticas que tornam encontros de saberes possíveis mas nãos intercomunicáveis. Como romper paradigmas sem ferir a matéria, a memória e o “lugar das coisas”. Como a insularidade condiciona e reinventa o conceitos de desenvolvimento e naturaliza o paradigma de “sustentável”. A realidade ilha, ou o lugar onde o “sustentável” apropria-se da definição da arte, do artesanato e design. O papel da na preservação da identidade cultural face ao mundo globalizado. O lugar das coisas num mundo inventado do encontro de culturas ou o mito da criação do "crioulo cultural”.

O lugar onde nada está além da natureza. Cabo Verde, 18 ilhas. A arte como a síntese da própria condição do ilhéu, o artista como a síntese do que a ilha produziu ao longo da sua história, no campo artístico e cultural: da sua vivência e do seu património histórico e cultural, matéria e imaterial. As ilhas como limites naturais mas também como depositárias congénitos, como guardiãs de processos ancestrais. O papel do artista ilhéu, personas que incorporam e metamorfoseiam os próprios processos. A ilha como matéria da arte enquanto ritual. A ilha como o lugar natural do “novo”.

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 221 MoMoWo - Women’s Creativity Since the Modern Movement

MoMoWo - Women’s Creativity Since the Modern Movement Project co-financed by the European Commission CREATIVE EUROPE (2014-2020) within the CULTURE SUB-PROGRAMME Larger Scale Cooperation Projects APPLICATION n. 552374-CREA-1-2014-1-IT-CULT-COOP 2 Title: Women’s creativity since the Modern Movement Acronym: MOMOWO Duration: 4 years (from 20 October 2014 to 19 October 2018) Grant: 2.315.796 euro, EU Grant: 1.157.898 euro Project Leader Emilia Garda - Politecnico di Torino - DISEG Assistant Project Leader Caterina Franchini - Politecnico di Torino – DISEG

Co-organisers Maria Helena Souto - IADE-Universidade Europeia, Lisboa, Portugal Ana Maria Fernandéz Garcia - Universidad de Oviedo, Spain Marian Groot - Vrije Universiteit Amsterdam, The Netherlands Helena Serazin - Znanstvenoraziskovalni Center Slovenske Akademije Znanosti in Umetnosti, Ljubliana, Slovenia Alain Bonnet - Université Grenobles Alpes, Grenoble, France; Sara Levi Sacerdotti - Institute of Advance Learning on Territorial Systems for Innovation, Turin, Italy

ABSTRACT

Women’s creativity since the Modern Movement – MoMoWo is a Large Scale Cooperation Project co-funded by the Creative Europe Programme within the Culture sub-programme. MoMoWo is an interdisciplinary non- profit project that contributes to create European added value, as expected by Creative Europe.

From a pan-European and interdisciplinary perspective the project considers an issue of contemporary cultural, social and economic importance women’s achievements in the design professions of architecture, civil engineering, industrial, interior and landscape design, and urban planning, some of which were and/or are perceived as traditionally male professions. Thus, the project tackles an equal opportunity theme in past and present times.

MoMoWo aims to reveal and promote the significant European Cultural Heritage created by women working in the design professions, which hitherto and to a significant extent has been ‘hidden from history’. At the same time it aims to promote and increase the value of the works and achievements of the present generations of women professionals to give strength to the future generations of creative women. All MoMoWo activities are designed in order to raise awareness to women's work within the design fields. As such, they have the potential to generate a long-lasting impact, strengthening social and economic roles of women, whether they're working in any given field of design or still in training. http://www.momowo.eu/

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 222