\ DESIGN and ARTS FOR FUTURE NOW \ - ESAD

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\DESIGNand ARTSFOR FUTURE NOW\ESAD INTERNATIONALDAY — ERASMUS+OCT 2020 ESADCOLLEGE OF ARTSAND DESIGNMATOSINHOS — PORTUGAL

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\\crisis means turning point. and this is the starting point for designers. they look at what is and explore how to do it better.\\

Lene TanggaardRector Design School Kolding

\DESIGNand ARTSFOR FUTURE NOW\

\crisis means turning point. and this is the starting point for designers. they look at what is and explore how to do it better.\

Lene TanggaardRector Design School Kolding


PREFACE

After the success of the celebrations of the international week, in 2018, of

the 25th anniversary of the ESAD Erasmus/Erasmus+ mobility program that

gathered teachers and researchers from our school and from several foreign

higher education institutions with whom we have bilateral agreements, the

coordination of the Erasmus+ programmed a new international week that

would take place in May of this year. The preparations for the event were in

full development when, unexpectedly, we were hit by a virus called Covid-19,

which spread to almost the entire world, creating a pandemic climate that is

difficult to manage, particularly in areas like health, economy and education.

This unavoidable fact, unfortunately, forced us to cancel the event. However,

the decision to compile the texts received in the meantime in a publication was

a decision that I strongly applaud. This book will be forever remembered as

the “book of pandemic times”. The virus will certainly not drop everything. It

will not undermine our determination, our will and our motivation to continue

with this project that will be presented on the 16th October at ESAD.

The main theme for the event was “Design and Arts for Future

Now”. In this context, the themes suggested for reflection were diversified,

with emphasis on those related to the impact of Erasmus+ mobilities

in institutions (students and staff) of students management and good

practices; ethics and design (un)responsibility; the role of education for good

design; social design innovative solutions and practices for specific groups;

transforming societies through design and arts collaborative processes and

new behaviours; rethinking the design towards new challenges: future of

design sustainability; social and environmental responsibility... Themes that

are certainly ambitious on today’s agenda and some more than others are

presented in this book.

The book includes a range of significant contributions from teachers/

researchers of ESAD and ESAD-IDEA and from foreign higher education

intuitions. It is worth noting the acceptance of the challenge made to Dr. Gustavo

Alva-Rosa, from the National Erasmus Agency, to contribute with his analysis

\A Prefacein Pandemic Times

José António SimõesDirector for Research

ESAD — College of Art and Design

ESAD-IDEA — Research in Design and Art

Matosinhos

07\06\ on the path and contributions of the Arts sector during the development of

the Erasmus program in Portugal. The program coordinators of our school,

Antonino Jorge and Marta Varzim with researcher Maria Rui Vilar, present an

interesting text about our experience, between 1992-2020, with the Socrates/

Erasmus/Erasmus+ programs. The experiences and suggestions gathered

from the testimonies of students, teachers and staff (incoming and outgoing

mobility) are a significant contribution for the different school management

bodies in order to improve the teaching-learning and collaborative processes.

Emílio Remelhe presents a creative philosophical text about knowledge, in a

familiar version yet to be written, partly motivated by his teaching mobility

experience.

Other teachers/researchers from ESAD also actively participated

in the construction of this book. José Luis Simão presents an interesting

and provocative approach to design, referring that design of today is dead.

“Design stops designing products for any user in a certain context of use

and starts to provide means and conditions so that someone can determine

and even produce his product”. He advocates the death of the designer as a

designer. Margarida Azevedo and João Lemos, researchers and teachers of

the Communication Design course, present a reflection on the role of design/

designer in the face of the complex challenges and possibilities that the

phenomenon of generalized aging of the population poses to us.

I am pleased to note that former ESAD students and Erasmus

incoming students participated in this book with their reflections. Reference

must be made to Carolina Motta’s for her interesting text about responsibility

of the designer in a (un)sustainable world, linking it to issues of circular

economy and its importance for the design activity of today’s designers. In

turn, Eliška Skarolková, who was an Erasmus+ incoming student at ESAD in

2014, presents us a text about the “symphony” of ethics and aesthetics in

design, female adjectives not always compatible. Alicia Taracido, who was at

ESAD integrated in the teaching mobility program, proposes a design learning

process with cardboard under Covid-19 pandemic. The text, and the underlying

project resulting from the school-business relationship, reflects a subject, I

would say, unavoidable in a book in pandemic times.

With regard to the theme of strategic design, the article by Sigrid

Bürstmayr, from FH Joanneum - Austria, focuses, partially, on the present day,

but more on the future, as sustainable design has the ability to change our

society and environment. Like the state of permanent change of the world,

design also does not escape to this “law of physics”.

Ulrike Brückner, from Fachhochschule Dortmund, highlights the

importance of education for good design, describing his teaching method that

serves as a link between different areas of design. Oğul Göçmen and Pelin

Öztürk Göçmen from Turkey propose to rethink the future of design through

social responsibility, describing a collaborative project between design and

informatics students who have created solutions for o one of their country’s

main problem: stray animals. As a result of the project, the basic structure

developed can be adapted to different social problems in different countries.

The presentation of projects is also part of this book and, due to its

social impact, I could not fail to mention the ESAD multidisciplinary project

with the Pedro Hispano Hospital from Matosinhos, developed by Esad

teachers Marta Varzim, José Saraiva and Helena Cordeiro, which seeks for

more humanization and a better environment for the pediatric department. In

an initial project, the interior environment and the rooms for sick children were

redesigned through the exhibition of a set of illustrations that create a playful

and educational space for the children.

The diversity of the texts presented in this book will certainly

stimulate in each one of us the act of re(thinking) on the themes presented. I

am fully convinced that the topics will stimulate a fruitful discussion that will

enrich us a little more and, as I mentioned in the preface of the book of the first

meeting, I reinforce that these meetings and texts are important to improve

the spirit of mobility and institutional cooperation.


PREFÁCIO\Um Prefácioem Tempos de Pandemia

José António SimõesDiretor para a Investigação

ESAD — Escola Superior de Artes e Design

ESAD-IDEA — Investigação em Design e Arte

Matosinhos

Após o sucesso das comemorações, em 2018, do 25º aniversário do programa

de mobilidade Erasmus/Erasmus+ na ESAD através da realização da semana in-

ternacional que reuniu docentes e investigadores da nossa Escola e de diversas

instituições de ensino estrangeiras com quem temos acordos bilaterais, a coor-

denação do programa Erasmus+ programou uma nova semana internacional

que teria lugar em maio deste ano. Os preparativos do evento estavam em pleno

desenvolvimento quando, inesperadamente, fomos fustigados por um vírus, de

nome Covid-19, que alastrou a quase todo o mundo, criando um clima pandémico

de difícil gestão, particularmente em áreas como a saúde, a economia e a educa-

ção. Este facto, incontornável, obrigou, infelizmente, ao cancelamento do evento.

Contudo, a decisão de compilar os textos entretanto recebidos numa publicação

foi uma decisão de gestão que aplaudo. Este livro será para sempre lembrado

como um “livro em tempos de pandemia”. Nem tudo o vírus derrubará. Não der-

rubará a nossa determinação, a nossa vontade e a nossa motivação em prosse-

guir com o projeto que será apresentado no dia 16 de outubro na ESAD.

O tema principal definido para o evento foi o “Design and Arts for Fu-

ture Now” (O Design e a arte para o futuro de hoje). Neste âmbito, as temáticas

para reflexão sugeridas foram diversificadas, devendo-se salientar as referen-

tes ao impacto da mobilidade Erasmus+ de estudantes, docentes e funcionários

na gestão e boas práticas das Instituições; a ética e o design e sua (ir)responsabi-

lidade; a importância da educação/ensino para o bom design; design social e in-

clusivo e práticas e soluções inovadoras para grupos específicos; transformação

das sociedades através da arte e do design em processos colaborativos e novos

comportamentos; repensar o design em direção a novos desafios: futuro do de-

sign, responsabilidade e sustentabilidade social e ambiental… Temas certamente

ambiciosos na ordem do dia e, uns mais que outros, estão apresentados e com-

pilados neste livro.

O livro apresenta um leque de contribuições significativas dos docen-

tes/investigadores da ESAD e da ESAD-IDEA e de instituições de ensino superior

estrangeiras. É de salientar a aceitação do desafio feito ao Dr. Gustavo Alva-

-Rosa, da Agência Nacional Erasmus, para contribuir com a sua análise sobre

11\10\ o percurso e contribuições do sector das Artes durante o desenvolvimento do

programa ERASMUS em Portugal. Os coordenadores do programa na nossa Es-

cola, Antonino Jorge e Marta Varzim com a investigadora Maria Rui Vilar, apre-

sentam um interessante texto sobre a nossa experiência, entre 1992-2020, com

os programas Socrates/ERASMUS/ERASMUS+. As experiências e sugestões

respigadas dos testemunhos dos estudantes, docentes e funcionários (em mo-

bilidade in e out) são um contributo de grande significância para os órgãos de

gestão no sentido de melhorar cada dia o processo de ensino-aprendizagem e

processo colaborativo. O Emílio Remelhe apresenta-se um criativo texto filosó-

fico sobre o conhecimento, numa versão familiar ainda por anotar, em parte mo-

tivado pela sua experiência de Mobilidade de Ensino.

Outros docentes/investigadores da ESAD também participaram ativa-

mente na construção deste livro. O José Luís Simão apresenta uma abordagem

interessante e provocatória sobre o design, afirmando que, tal como é hoje co-

nhecido, está morto. Deixa de conceber produtos para utilizadores/contextos

conhecidos para “…propiciar meios e condições para que alguém possa determi-

nar e até produzir o seu produto”. É, como preconiza, a morte do designer-proje-

tista. A Margarida Azevedo e o João Lemos, investigadores e docentes do curso

de Design de Comunicação, apresentam uma reflexão sobre o papel do design/

designer face aos complexos desafios e possibilidades que nos coloca o fenóme-

no do envelhecimento generalizado da população.

Apraz-nos registar que antigos estudantes da ESAD ou estrangeiros

que estiveram em mobilidade também participam neste livro com as suas refle-

xões. Refira-se o texto interessantíssimo da Carolina Motta sobre a responsabi-

lidade do designer num mundo (in)sustentável, ligando-a a questões inerentes

e paralelas à Economia Circular e sua importância na atividade projetual dos de-

signeres de hoje. Por sua vez, Eliška Skarolková, que foi uma estudante Eras-

mus + IN na ESAD em 2014, apresenta-nos um texto sobre a “sinfonia” da ética

e estética no design, adjetivos femininos nem sempre compatíveis. Alicia Taraci-

do, que esteve na ESAD integrada no programa de mobilidade de ensino, propõe

um processo de aprendizagem de design com cartão em momento pandémico

de Covid-19. O texto, e o projeto subjacente resultante da relação escola-empre-

sa, refletem um assunto, diria, incontornável num livro em tempos de pandemia.

No que se refere à temática do design estratégico, o artigo de Sigrid

Bürstmayr, da FH Joanneum – Áustria, foca, em parte, no dia presente mas mais

no futuro, como o design sustentável tem a capacidade de influenciar a nossa

sociedade e ambiente. Tal como o estado de mudança permanente do mundo, o

design, também não foge a essa “lei da física”.

Ulrike Brückner, da Fachhochschule Dortmund evidencia a importância

da educação para o bom design, descrevendo o seu método de ensino que serve

como elemento de ligação entre diferentes áreas do design. Oğul Göçmen e Pelin

Öztürk Göçmen da Turquia propõem repensar o futuro do design através da res-

ponsabilidade social, descrevendo um projeto colaborativo entre estudantes de

design e de informática que engendraram soluções para um dos principais pro-

blemas do seu país: os animais vadios. Como resultado do projeto desenvolvido,

é legítimo pensar que a estrutura básica desenvolvida pode ser adaptada para

diferentes problemas sociais em diversos países.

A apresentação de projetos também faz parte deste documento e, pelo

seu impacto social, não poderia deixar de citar o projeto multidisciplinar da ESAD

com o Hospital Pedro Hispano de Matosinhos, desenvolvido pelos professores

Marta Varzim, José Saraiva e Helena Cordeiro, que procura desenvolver uma

maior humanização e melhor ambiente do serviço de pediatria. Num primeiro

projeto foi feito o redesenho dos espaços e salas de convívio das crianças doen-

tes através da exposição de um conjunto de ilustrações para criar, na ala pe-

diátrica, um momento lúdico e pe-dagógico para os seus pacientes, as crianças.

A diversidade dos textos apresentados neste livro estimulará, certa-

mente, em cada um de nós o ato de re(pensar) sobre os temas apresentados. Es-

tou plenamente convicto que os temas serão objeto de uma profícua discussão

que nos enriquecerá um pouco mais e, tal como referir no prefácio do anterior

encontro, reforço que estes encontros e textos são importantes para melhorar o

espirito da mobilidade e da cooperação institucional.


THEMES

THE IMPACT OF ERASMUS + MOBILITIES IN INSTITUTIONS(STUDENTS AND STAFF)MANAGEMENT AND GOOD PRACTICES —ETHICS AND DESIGN(IR)RESPONSIBILITY OF DESIGNTHE ROLE OF EDUCATIONFOR GOOD DESIGN —RETHINKING THE DESIGN TOWARDS NEW CHALLENGES: FUTURE OF DESIGN SUSTAINABILITYSOCIAL AND ENVIRONMENTAL RESPONSIBILITY —SOCIAL DESIGNINNOVATIVE SOLUTIONSAND PRACTICESFOR SPECIFIC GROUPSINCLUSIVE DESIGN —TRANSFORMING SOCIETIES THROUGH DESIGN AND ARTSCOLLABORATIVE PROCESSES,NEW BEHAVIOURS —

\52Design Strategiesthat Would Not Hurtand Make Life BetterSigrid Bürstmayr

\68The Role of Educationfor Good DesignUlrike Brückner

\88The Day We All Become Designers: the Symphonyof Ethics and Aestheticsin DesignEliška Skarolková

\116Design is Dead.Long Live Design. Hitchhikingby Peter Greenawayand OthersJosé Luís Simão

\122The Responsibilityof the Designerin an (un)Sustainable WorldCarolina Motta

\144The Humanizationof the Hospital Environment through Illustration.A Collaborative Project between ESADand Pedro Hispano’s Hospitalof MatosinhosJosé SaraivaHelena CordeiroMarta Varzim

\156Rethinking Futureof Design Through Social Responsibility.An Example of IoT Applicationfor Stray AnimalsOğul GöçmenPelin Öztürk Göçmen

\172Cardboard Design Learning under COVID-19 PandemicAlicia Cerdá Taracido

\180Happy Days.Games, Tangible Interfaces for the Senior Population.Margarida AzevedoJoão Lemos

\194AbstractsGustavo Alva-RosaAntonino JorgeMarta VarzimMaria Rui VilarEmílio RemelheSigrid BürstmayrUlrike BrücknerEliška SkarolkováJosé Luís SimãoCarolina MottaJosé SaraivaHelena CordeiroMarta VarzimOğul GöçmenPelin Öztürk GöçmenAlicia Cerdá TaracidoMargarida AzevedoJoão LemosNathalia MoutinhoRezafar AzadehÖzden Pektas TurgutStefanie Egger

\212Testimonials


TABLE OF CONTENTS

\04A Prefacein Pandemic TimesJosé António Simões

\18Erasmus in Portugal, Mobility in ArtsGustavo Alva-Rosa

\30The ChallengingErasmus Experienceat ESAD.A Moment of ReflectionAntonino JorgeMarta VarzimMaria Rui Vilar

\46All in the Family.A Familiar Mnemonic of Knowledge at Coffee Break, Before or After ClassEmílio Remelhe

THE IMPACT OF ERASMUS+ MOBILITIES IN INSTITUTIONS(STUDENTSAND STAFF)MANAGEMENT AND GOOD PRACTICES —


THEMES

19\It is within a context of global pandemic, ideological antagonisms

and facing the imminent departure of one of its member states for the first

time, that the European Union celebrates, in 2020, the 33rd anniversary of

one of its most successful creations: the ERASMUS Programme.

A Programme that continues to invest in the present looking out for

the future. Changing lives and broadening the horizons of millions of people

by fostering their skills, autonomy, tolerance and worldview. A Programme

that will keep influencing present and future generations of individuals

and organizations giving them a larger sensitivity and sense of European

belonging, as well as a more balanced global conscience.

The invitation from Escola Superior de Artes e Design to the

Portuguese ERASMUS+ National Agency for participating in this publication

was a challenge as well. It allowed us to look back and analyse the Arts

sector’s trajectory and contributions during the ERASMUS Programme’s

existence in a detailed way. In Portugal, that path has always been marked in

a clear and remarkable way.

More time would be desirable for research and treatment of data on

the performance of the Design area in concrete. However, conclusions and

consolidated results of a compilation with this tuning do not exist yet and

would be hurt in their completeness and consistency, if to be produced with

data currently available.

During its 33 years in Portugal, the Programme has undergone

different rules, management strategies and instruments; by organizations

from different activity areas with specific organizational cultures and

distinguished monitoring capacity. Times and protagonists that changed

several times, with transitions and inheritances not always fluid nor complete.

Even so, completing its 20th anniversary in 2020, the Portuguese

ERASMUS+ National Agency ensured under its auspices the management of

about two thirds of the Programme’s living in Portugal. This longevity and

\Erasmus in Portugal, Mobility in Arts

Gustavo [email protected]ência Nacional ERASMUS+ Educação e FormaçãoPortugal

keymordsmobilities (students and staff)themesthe impact of erasmus+ mobilitiesin institutions (students and staff)management and good practices

en

stability gave us the experience, knowledge and autonomy to safely produce

the reflection this publication demands us right now.

Concretely within the scope of ERASMUS, on the participation of

national agents linked to the teaching of Arts in Portuguese Higher Education,

there are interesting and reliable data at least since the mid-1990s. Therefore,

it is from that stage (SOCRATES I) of the Programme’s life on that we will

present and reflect upon results.

Student Mobility (1994 - 2019)

In 25 years analysed and going through 4 community support

different frameworks (Sócrates I; Sócrates II; Lifelong Learning Programme;

ERASMUS +), the participation trend for Arts’ students in ERASMUS always

has been characterized by a sustained growth. Only in 4 academic years

(2009/10; 2011/12; 2017/18; 2018/19) did we assist to moments of (tenuous)

retraction in the number of these participants, which allows us to consider

them as periods of inconsequential exception.

In fact, since the first year considered in our analysis, the numbers

have been growing considerably. In 1994, only 37 students from the “Art

and Design” sector left Portugal to undertake a period of transnational

mobility under the ERASMUS Programme. The most recent data we hold,

relating to the 2018/19 academic year, confirm the ERASMUS mobility of

1,029 participants (students and / or recent graduates) from the Arts and

Humanities sector.

MOBILITY OF HIGHER EDUCATION STUDENTS BY STUDY/EDUCATION AREA

We must have the due reserve with regard the reference study

areas categories (ISCED) at different times. Between 1994 and 2007, Art

and Design study area assumed its own centrality in identification and

designation terms. As of 2007, both these study fields started sharing one

single category with the Humanities area, since then known as “Arts and

Humanities” study area.

Between 1994 and 1999 (Socrates I), we saw a steady annual growth

in the number of ERASMUS students from “Art and Design”. This study area,

in this 6-year phase, would achieve a consolidated result of 480 ERASMUS

students, representing about 4% of the total number of ERASMUS students

21\20\

that have left from Portugal in that period. The so-called “Humanities” area

sent 205 students total, representing about 2% of the total number of

students who participated in the Programme.

The following period of Sócrates II (2000-2006) confirmed the

previously assumed growth tendency by the “Art and Design” sector; these

7 years were marked by a gradual, constant and sustained increase. By

reaching a total of 1,448 participants and, therefore, tripling the number of

participants from the previous phase, “Art and Design” students represented

about 6% of total ERASMUS students leaving Portugal during this phase of

the Programme. Comparing, Humanities area sent 364 participants, about

1% of the total number.

As above mentioned, the Lifelong Learning Programme (2007-

2013) has already presented itself with new categorizations in terms of

study areas (ISCED97). Former “Humanities” and “Art and Design” areas

have been gathered into a single category: “Arts and Humanities”. Once

again, participation in the ERASMUS Programme assumed an upward

trend confirmed both in absolute and relative terms, more than doubling

the aggregate of the figures previously achieved by Arts and by Humanities

areas until 2006, separately.


During this 7-year period, and even if with a more oscillating

evolution, we witnessed the ERASMUS mobility of about 3,952 “Arts and

Humanities” students, representing 9.4% of the total number of participants

departed from Portugal during this period. Only surpassed by the traditionally

dominant study areas (Social Sciences / Management / Law, Health and

Engineering), the “Arts and Humanities” area was the 4th most represented

in ERASMUS mobility activities during the LLP.

In the current 7-year phase, already within the scope of the

ERASMUS+ Programme (2014-2020) and under the aegis of a new

categories’ universe (ISCED2013) that kept “Arts and Humanities” area

untouched, we confirm that the growth trend has been maintained, still if

with a small decrease in relative terms.

With available data only from 2014 to 2018/2019, almost 5,000

participants (4,805) from this study area already completed an ERASMUS+

mobility activity. This number corresponds to 11% of the total ERASMUS+

students that left from Portugal during this Programme phase. This places

“Arts and Humanities” category in the fifth position regarding participation per

study area of Portuguese Higher Education in the Key Action 1.


Still waiting for the 2019/2020 and 2020/2021 academic years’

results, it is expected for the ERASMUS + Programme to reinforce dynamics

and growth ambition of “Arts and Humanities” sector, concerning the

internationalization of its individual and collective agents. If that is the case,

it will allow confirming coherence and capacity demonstrated during the last

two decades by the artistic and humanistic teaching, in terms of transnational

mobility in the European space.

Teaching Staff Mobility (2007 - 2019)

Generically, the compilation of data for ERASMUS teaching activities

has being overpassed through time, given the central and growing position

of student mobility. Thus, this data’s treatment and organization, more

forgotten and dispersed since the Programme’s genesis, has been happening

less urgently and in a more gradual way.

The comment on the ERASMUS mobility of teaching staff from Arts

higher education regards, therefore, a shorter period based on the available

data. The precision and coherence needed for the evolutionary analysis

wanted requires us to be focused on the two most recent phases (Lifelong

Learning Programme and ERASMUS+) only, during which Design and Arts

subjects are considered in the “Arts and Humanities” study area.

The first assessed period, between years 2007 and 2013 (Lifelong

Learning Program), can be characterized by its oscillating tendency, in what

concerns ERASMUS + mobilities departing from Portugal and carried out by

higher education teachers of “Arts and Humanities”.

With an evolution of growth during the first 2 years (2007-2009),

we would end up seeing a decrease in the number of participants between

2009 and 2012, later recovering and surpassing the total number of annual

activities between 2012 and 2014.

That phase of the Programme ended with the largest yearly

number of “Arts and Humanities” teaching participants recorded until then.

Specifically, in 2013/2014 academic year, 147 teaching mobilities were carried

out allowing this 7-year period to be finished with a total of 904 teachers’

mobilities from “Arts and Humanities” sector.

23\22\

These figures gain relevance for they confirm the study area in

question (ISCED97) as the second that most contributed to the results of the

Lifelong Learning Programme, in terms of transnational mobility carried out

by national higher education institutions’ teachers.

MOBILITY OF HIGHER EDUCATION TEACHERS (STA) BY TEACHING AREA

Only surpassed by traditional dominant Social Sciences /

Management / Law study area (23.8%), between 2007 and 2013 “Arts

and Humanities” were responsible for 16 out of every 100 staff mobilities

supported by the Lifelong Learning Programme.

The transition to the ERASMUS+ Programme (2014-2020) current

phase, although not having lost the same oscillating trend from the previous

phase, reinforced the proportional contribution from “Arts and Humanities”

towards the development of teaching staff transnational mobility in the

European space.

MOBILITY OF HIGHER EDUCATION TEACHERS (STA) BY TEACHING AREA

The renewed official study areas’ categorization (ISCED2013), which

separated “Social Sciences” from “Business / Law Sciences”, has permitted

the “Arts and Humanities” to become the Higher Education sector that

currently mobilizes more teaching staff ERASMUS+ activities.

After a path of growth between 2014 and 2016, the phenomenon

of the previous phase was again repeated, with a drop in in the following

two years’ (2016-2018) achievements. Despite that and since then, the same

growth tendency was again guaranteed.

In 6,047 teaching missions already carried out under the ERASMUS+

Programme, Key Action 1 for Higher Education, 986 missions officially

belong to the “Arts and Humanities”. These results represent about 16.3% of

the total activities carried out between the academic years 2014/2015 and

2018/2019 and almost are reached only by “Health and Social Protection”

area , which has a total of 935 missions carried out up to this date (15.5%

of the total).

With 2019/2020 and 2020/2021 years still to be finished, “Arts and

Humanities” are expected to confirm their trend of growth in the number

of mobilities on the one hand, as well as to maintain the leadership in

implementing this type of ERASMUS activities, which have been assuming an

increasing role and centrality.

The future is always uncertain, especially during and after a global

pandemic context. However, History, the sensitivity and the experience

of those who know more and better than us, tell us that, being a universal

language, any form of art naturally allows us to feel again, remember and

recover our essence as human beings; however brief or perennial that

moment may be.

Thus, in a perspective of continuity and expansion of the ERASMUS

Programme from 2021, in an irreversibly interdependent world, but also

more aware and sensitive, we have every reason to believe on the continued

growth of “Arts and Humanities” ERASMUS mobilities. Much more than an

exchange programme, ERASMUS brings people together; it means facing life

with a global perspective.

25\É num contexto de pandemia mundial, de incertezas e antagonismos ideoló-

gicos e da inédita e iminente saída de um dos seus Estados-membros que a

União Europeia assinala em 2020 o 33º aniversário daquela que é uma das

suas mais bem-sucedidas criações: o Programa ERASMUS.

Um Programa que sempre investiu e continua a investir no pre-

sente, olhando o futuro. Que mudou e continua mudando vidas e alargando

horizontes de milhões de pessoas, estimulando as suas competências, auto-

nomia, tolerância e mundividência. Um Programa que influenciou e influen-

ciará gerações de indivíduos e de organizações que terão, certamente, uma

sensibilidade e sentimento de pertença europeus, e uma consciência global,

muito maiores e mais equilibrados que as gerações atuais.

Em jeito de desafio lançado pela Escola Superior de Artes e Design

à Agência Nacional ERASMUS+ Educação e Formação, o convite para parti-

ciparmos na presente publicação obrigou-nos a olhar para trás. Bem para

trás e, acima de tudo, a olhar bem para o percurso e contributos do setor das

Artes na senda do Programa ERASMUS. Um caminho que, em Portugal, tem

sido trilhado de modo nítido e crescentemente assinalável.

Seria desejável mais tempo para pesquisa e tratamento de da-

dos sobre os desempenhos da área do Design em concreto. Contudo, as

conclusões e resultados consolidados de uma compilação com essa de-

sejada afinação não só não existem, como estariam feridos nas suas com-

pletude e coerência, caso fossem produzidos com os dados atualmente

disponíveis.

Durante os 33 anos da sua implementação em Portugal, o Programa

passou por diferentes regras, estratégias e instrumentos de gestão; por orga-

nismos também eles distintos na sua área de atuação, na sua cultura organi-

zacional e na sua capacidade de monitorização. Tempos e protagonistas que

foram mudando, com transições que nem sempre foram plenas e fluídas nas

heranças entretanto transmitidas.

Ainda assim, assinalando a Agência Nacional ERASMUS+ Educação e

Formação o seu 20º aniversário em 2020, assegurámos sob a nossa égide a

gestão de cerca de dois terços do tempo de existência do Programa ERASMUS

em Portugal. E estas longevidade e estabilidade conferem-nos experiência,

conhecimento e autonomia para, de forma segura, fazermos a reflexão que

este momento e esta publicação nos exigem.

Concretamente no âmbito do ERASMUS, sobre a participação de

agentes nacionais ligados ao ensino das Artes no Ensino Superior português,

existem dados interessantes e fiáveis desde, pelo menos, meados da década

de 1990. É, portanto, a partir dessa fase (SÓCRATES I) da vida do Programa que

apresentaremos os resultados sobre os quais faremos uma breve reflexão.

Mobilidade de Estudantes (1994 – 2019)

Em 25 anos analisados, e passando por 4 diferentes quadros comunitários

de apoio (Sócrates I; Sócrates II; Programa Aprendizagem ao Longo da Vida;

ERASMUS+), a tendência de participação dos estudantes de Artes no ERAS-

MUS tem sido sempre caraterizada por um crescimento sustentado. Ape-

nas em 4 anos académicos (2009/10; 2011/12; 2017/18; 2018/19) assistimos

a momentos de (ténue) retração no número destes participantes, o que nos

permite considerá-los como períodos de exceção inconsequente.

De facto, desde o primeiro ano considerado nesta nossa análise, os

números têm vindo a crescer de modo considerável. Em 1994, apenas 37 es-

tudantes do setor de “Arte e Design” saíram de Portugal para realizarem um

período de mobilidade transnacional ao abrigo do Programa ERASMUS. Os

dados mais recentes que detemos, relativos ao ano académico de 2018/19,

confirmam-nos a mobilidade ERASMUS de 1.029 participantes (estudantes e/

ou recém-graduados) do setor de Artes e Humanidades.

MOBILIDADE DE ESTUDANTES DO ENSINO SUPERIOR POR AREA DE ESTUDO/EDUCAÇÃO

É correto e justo que façamos a devida ressalva no que respeita às

categorizações (ISCED) das áreas de estudo de referência em momentos dis-

tintos. Entre 1994 e 2007, a área de estudo das Artes assumiu uma centra-

lidade própria quanto à sua identificação e designação, ambas partilhadas

com a área do Design. A partir de 2007, estas áreas de estudo passaram a

partilhar a sua categoria com as áreas de Humanidades, tendo a própria re-

\Erasmus em Portugal,a Mobilidade em Arte



pt

27\26\

ferência ao Design sido “absorvida” na sua designação pela área que, desde

então, conhecemos como “Artes e Humanidades”.

Entre 1994 e 1999, período correspondente à fase Sócrates I, assisti-

mos a um crescimento anual constante do número de estudantes ERASMUS

de “Arte e Design”. Esta área de estudo, nesta fase de 6 anos, viria a ter como

resultado consolidado um número total de 480 estudantes ERASMUS, repre-

sentando cerca de 4% do número total de estudantes ERASMUS saídos de

Portugal nesse período. A então designada área de “Humanidades” totalizou

205 estudantes, representando cerca de 2% do número total de estudantes

que participaram no Programa.

O período seguinte, já sob a égide do Sócrates II (2000-2006), confir-

mou a tendência de crescimento anteriormente assumida pelo setor “Arte e

Design”; foram 7 anos que ficaram marcados por uma subida gradual, cons-

tante e sustentada. Culminando no total de 1.448 participantes e, portan-

to, triplicando o número de participantes da fase anterior, os estudantes de

“Arte e Design” representaram cerca de 6% do total de estudantes ERASMUS

saídos de Portugal durante esta fase do Programa. A título comparativo, o

setor das Humanidades totalizou 364 participantes, cerca de 1% do total.

O Programa Aprendizagem ao Longo da Vida (2007-2013) apresen-

tou-se já com novas categorizações em termos de áreas de estudo (ISCED97),

conforme acima referido, agregando as antigas áreas de “Humanidades” e

“Arte e Design” numa só categoria: “Artes e Humanidades”. Em termos de par-

ticipação no Programa ERASMUS, mais uma vez, confirmou-se uma tendên-

cia de subida, quer em termos absolutos, quer em termos relativos, mais que

duplicando o agregado dos números anteriormente alcançados pelas Artes

e Humanidades em separado, até 2006.


Em concreto, durante os 7 anos em questão, e ainda que de modo

mais oscilante na sua evolução, assistimos à mobilidade ERASMUS de cer-

ca de 3.952 estudantes de “Artes e Humanidades”, representando cerca de

9,4% do número total de participantes saídos de Portugal neste período.

Apenas superada pelas tradicionais áreas de estudo dominantes (Ciências

Sociais / Gestão / Direito, Saúde e Engenharias), a área de “Artes e Huma-

nidades” foi, assim, a 4ª mais representada nas atividades de mobilidade

ERASMUS durante o PALV.

Chegados à atual fase de 7 anos, já no âmbito do Programa ERAS-

MUS+ (2014-2020) e sob a égide de um novo universo de categorias (IS-

CED2013) cuja atualização não teve influência direta na área das “Artes e

Humanidades”, constatamos que a tendência de subida tem vindo a manter-

-se, ainda que com algum recuo em termos relativos.


Com dados disponíveis apenas para o período entre 2014 e 2018 /

2019, estão formalmente identificados quase 5.000 participantes ERASMUS+

(4.805) provenientes da área de estudo em apreço. Este número corres-

ponde a cerca de 11% do total de estudantes ERASMUS+ saídos de Portugal,

durante a fase ainda em curso, o que classifica a categoria de “Artes e Huma-

nidades” na quinta posição quanto aos índices de participação do Ensino Su-

perior português na Ação-chave 1 do Programa, por área de estudo.

Estando por apurar, ainda, os resultados dos anos académicos de

2019/2020 e 2020/2021, é expectável que o Programa ERASMUS+ venha a

reforçar a dinâmica e ambição de crescimento do setor das “Artes e Humani-

dades”, no que à internacionalização dos seus agentes individuais e coletivos

diz respeito. Assim sendo, apenas confirmará a coerência e capacidade de-

monstradas durante as duas últimas décadas, por parte dos ensinos artísti-

co e humanístico, em matéria de mobilidade transnacional no espaço europeu.

Mobilidade de Pessoal Docente (2007 – 2019)

Genericamente, a compilação de dados sobre este universo de atividades

(missões de ensino) tem sido preterida ao longo do tempo, perante o pro-

tagonismo constante e crescente da mobilidade de estudantes. Por esse

motivo, o tratamento e sistematização destes dados, mais esquecidos e dis-

persos desde a génese do Programa, tem vindo a acontecer de modo menos

urgente e mais gradual.

O comentário que em seguida dedicaremos à mobilidade ERASMUS

de pessoal docente do ensino superior das Artes incide, portanto, sobre um

universo temporal mais curto, em função da informação disponível. A preci-

são e coerência que se exigem para uma análise evolutiva deste tipo obrigam

a que nos cinjamos às duas fases mais recentes (Programa Aprendizagem ao

Longo da Vida e ERASMUS+), apenas, a partir das quais o Design e as artes

em geral foram incluídos na área de estudos “Artes e Humanidades”.

A primeira das duas fases apreciadas, o período compreendido entre

os anos de 2007 e 2013 (Programa Aprendizagem ao Longo da Vida), pode ser

caraterizada como tendo sido de tendência oscilante, em matéria de mobili-

29\28\

dades ERASMUS+ levadas a cabo por docentes de “Artes e Humanidades” do

ensino superior, com origem em Portugal.

Assumindo uma evolução de crescimento durante os 2 primeiros

anos (2007-2009), acabaríamos por assistir a uma diminuição do número de

participantes entre 2009 e 2012 para, depois, ser recuperado e superado o

número total de realizações anuais entre 2012 e 2014.

MOBILIDADE DE DOCENTES DO ENSINO SUPERIOR (STA) POR AREA DE ESINO

Esta fase do Programa foi encerrada com o maior número anual de

participantes docentes de “Artes e Humanidades” registado até então. Em

concreto, no ano académico 2013 / 2014, foram realizadas 147 mobilidades

de ensino, o que permitiu concluir esse período de 7 anos com um total de

904 mobilidades de professores ligados ao setor das “Artes e Humanidades”.

MOBILIDADE DE DOCENTES DO ENSINO SUPERIOR (STA) POR AREA DE ESINO

Estes números ganham especial relevância por confirmarem a área

de estudo em apreço (ISCED97) como a segunda que mais contribuiu para

os resultados do Programa Aprendizagem ao Longo da Vida, em matéria de

mobilidades transnacionais realizadas por docentes de instituições de ensi-

no superior nacionais.

Apenas superada pela tradicionalmente dominante área de Ciências

Sociais/ Gestão/ Direito (23,8 %), entre 2007 e 2013, a área de “Artes e Hu-

manidades” foi responsável por pela concretização de 16 em cada 100 mobi-

lidades de pessoal apoiadas pelo Programa Aprendizagem ao Longo da Vida.

A transição para a corrente fase do Programa ERASMUS+ (2014-

2020), ainda que não dispensando a mesma tendência oscilante da fase an-

terior, veio reforçar o contributo proporcional das “Artes e Humanidades”

para o desenvolvimento de mobilidades transnacionais de pessoal docente

no espaço europeu.

A renovada categorização oficial das áreas de estudo (ISCED2013),

que separou “Ciências Sociais” de “Ciências Empresariais / Direito”, veio per-

mitir que as “Artes e Humanidades” sejam o setor do Ensino Superior que

mais mobilidades ERASMUS de pessoal realiza atualmente.

Após uma senda de crescimento entre 2014 e 2016, voltou a repe-

tir-se o fenómeno da fase anterior, com uma descida de realizações nos dois

anos subsequentes (2016-2018), para, em seguida e desde então, voltar a ser

assumida uma tendência de crescimento.

Em 6.047 missões de ensino já realizadas sob a égide do Programa

ERASMUS+, no âmbito da Ação-Chave 1 do Ensino Superior, estão oficialmen-

te registadas 986 missões levadas a cabo por docentes de “Artes e Humani-

dades”. Estes resultados representam cerca de 16,3% do total de atividades

realizadas entre os anos académicos de 2014/2015 e 2018/2019 e apenas

são acompanhados de perto pela área da “Saúde e Proteção Social”, com um

total de 935 missões realizadas até à data (15,5% do total).

Com os anos de 2019/2020 e 2020/2021 ainda por consolidar, é ex-

pectável que as “Artes e Humanidades” confirmem a tendência de cresci-

mento do número de mobilidades, por um lado, bem como a manutenção da

liderança na implementação deste tipo de atividades ERASMUS, que têm vin-

do a assumir um protagonismo e centralidade crescentes.

O futuro é sempre uma incerteza, principalmente durante e após um

contexto de pandemia global. Todavia, diz-nos a História, a sensibilidade e a

experiência de quem sabe mais e melhor que nós que, sendo uma linguagem

universal, qualquer forma de arte nos permite naturalmente sentir de novo,

relembrar e recuperar a nossa essência enquanto seres humanos. Por mais

breve ou perene que seja esse momento.

Assim, numa perspetiva de continuidade e de expansão do Progra-

ma ERASMUS a partir de 2021, num mundo irreversivelmente interdepen-

dente, mas, igualmente, mais desperto, sensível e conhecedor, temos todos

os motivos para apostar no crescimento continuado das mobilidades de “Ar-

tes e Humanidades”, no âmbito do ERASMUS. Muito mais que um programa

de intercâmbio, o ERASMUS aproxima pessoas e culturas; significa encarar a

vida com uma perspetiva global.

31\ESAD’s committed and active participation in mobility programmes

(Socrates/Erasmus/Erasmus+) is almost as old as the college itself. In fact,

it was founded in 1989 and a few years later, in 1992, it received the first

incoming students. This text aims to briefly reflect on Erasmus mobility,

based on the testimonials of the outgoing students, lecturers and staff of

the College of Art and Design and of the incoming students and staff, who

arrive from different European countries.

Student Mobility

Over the years, Bilateral Agreements have diversified and multiplied and

the number of students in outgoing or incoming mobilities has gradually

increased. If until the academic year of 2006/2007 (exception for 2005/2006)

the number of outgoing students was always slightly higher than the

incoming. From 2007/2008 onwards the number of incoming mobility

skyrocketed, reaching a record number in the academic year of 2011/2012,

when the incoming Erasmus students were more than 12% of the college’s

students, as shown on bar graph 1.

\The ChallengingErasmus Experienceat ESAD.A Moment of Reflection

Antonino [email protected] [email protected] Rui [email protected] — College of Arts and Designof MatosinhosPortugal

keymordserasmus+mobilitydesign and artsthemesthe impact of erasmus+ mobilitiesin institutions (students and staff)management and good practices

What is the reason for this remarkable increase? What are the

reasons for ESAD’s attractiveness? The answers can be found in the written

testimonials that students send us at the end of each Erasmus period.

Incoming students’ testimonials

In general terms, the students’ testimonials, collected between 2010 and

2020, refer to what attracted and fascinated them in our country, in the

cities of Porto and Matosinhos and at ESAD. Their testimonials refer: a)

ESAD as an educational institution, its facilities and infrastructure, services

and equipment made available to the entire educational community; b) the

school environment; c) the quality of the numerous cultural and scientific

events; d) the diversity and high number of students that characterise the

Erasmus community; e) lecturers’ qualities in relation to scientific knowledge,

communication and motivation; f) the Erasmus experience in Portugal.

They also make some observations about ESAD, Portuguese

lecturers and classmates and point out some limitations that include the

interaction between them and the Portuguese students, and also the

Portuguese students’ attitude in class, since they do not take full advantage

of the school conditions in terms of equipment and teaching quality.

Portugal and the cities of Porto and Matosinhos

All things considered, it is firstly noted that the country and the

city are appealing. They say that the country is amazing due to its weather,

beauty, culture and a lower cost of living. With respect to Porto, they state

that the city is wonderful, incredible, fantastic, fascinating, magical, vibrant,

full of life and charm, dynamic and young, ancient and modern, adventurous

and fairy tale, charming and warm, with wonderful sites (Ribeira, Palácio de

Cristal, Casa da Música, bridges...), countless cultural events and, of course,

crazy nights. Regarding Matosinhos, they highlight the peaceful environment,

the architecture of Távora, Siza Vieira and Souto Moura, the ocean, the beach,

the surf, the promenades and the sunset by the sea. Together with good food,

fresh fish, francesinhas, fruit, cheese, bread, pastries (mainly pastel de nata),

coffee, wine... and especially the friendly and more relaxed people, who are

genuine, polite, kind, warm, friendly, smiling, frank, helpful and hospitable.

However, there are also some negative points, like the cold, rain and

humidity, as well as scarce accommodation, high rents and, above all, the

lack of adequate air conditioning.

ESAD

In the testimonials, the college is highly appreciated for the good facilities,

infrastructure, services and equipment made available, namely the

workshops, the computer rooms, the stationery shop, the screen printing,

the photo studio, the sound studio, the canteen (“The best academic Cafeteria in the world”, Matas Bartaska - Lithuania, 2013) and the library (“The library is the most beautiful place EVER! So well done! Wow, all those books, there clearly was an investment made, it was wonderful to open all those books for inspiration”. Hannah Declerck - Belgium, 2017). And

also the outdoor lawn, the microwave space, the online Google classroom,

etc. Nevertheless, some students suggest the need for better soundproofing

and air conditioning, in conjunction with the improvement, or reinforcement,

of some equipment in classrooms.

The general atmosphere

The general atmosphere is considered fantastic, welcoming, with a warm

en

1993-94 1994-95 1995-96 1996-97 1997-98 1998-99 1999-00 2000-01 2001-02 2002-03 2003-04 2004-05 2005-06 2006-07 2007-08 2008-09 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 2017-18 2018-19 2019-20

120

100

80

60

40

20

0

Incoming Outgoing Internships

bar graph 01mobility of incomingand outgoing students

33\32\

and creative mood which enables experimentation. And it also offers

numerous high quality events: Personal Views conferences, Id Talks, Web

Talks, workshops, exhibitions. The existence of a large and diverse Erasmus

community that allows contact with different languages, cultures and

traditions is also emphasised.

There is, however, a recurring criticism of the fact that Portuguese

students are a little distant, interact little and form closed groups, even in

the classroom. Although, when their help is requested, they are accessible,

helpful and friendly. Another criticism is the lack of punctuality, motivation,

commitment and a more relaxed attitude of some of these students in

classes. Surprisingly, Portuguese students sometimes do not take advantage

of what is offered to them regarding equipment and quality of teaching.

«People in ESAD are nice and helpful. The facilities are decent and the atmosphere is pleasant».Silja Suomalainen – Finland, 2016

«Basically you have all the amenities right in front of you, which were good for the workflow and ambience in ESAD. I can only recommend doing Erasmus at ESAD if you want to improve your design skills and enjoy an awesome city».Helena Pichler – Austria, 2016

«...the school is really homely and manageable... My first impression of feeling at home was underlined by the kindness of students, professors and the whole staff. The personnel were very friendly and helpful to all students, especially international».Christian Baba – Germany, 2017

Staff

As for the staff, the opinions are unanimous: from the canteen to the printing

and stationery services, from the secretariat to the cleaning staff, from the

workshops to the security guard, they are praised as very friendly, accessible

and helpful.

«...the school staff is very friendly, I love the way the cleaners are so happy and always say, “Bom Dia”».Grace Thomas – England, 2016

«Also the staff is really nice and cosy, everyone makes you feel like home, starting from the man in reception that always greets everyone, and finishing to the funny women at the bar».Alessia Buono – Italy, 2017

«...The ESAD staff is also great, they are very nice and willing to help».Julian Afán – Spain, 2019

Lecturers

The great majority of Erasmus students see the lecturers as friendly, liberal,

accessible and someone who can be easily contacted for any question. They

praise them for being very professional, interested, motivating, committed

and passionate about their work. The lecturers are also demanding, critical,

encouraging to the students and know how to guide, correct and develop

self-criticism in them.

They stimulate and value creativity and not just the technical part of

the students work. And when students take part in competitions, the Erasmus

students admire the lecturers help in rectifying, inspiring, motivating and

showing enthusiasm for their participation.

«Esad is a place which makes you push your limits and want to be better».Gurol Vural – Turkey, 2012

«ESAD provides a very straight forward teaching regime, were lecturers are the strong point».Matas Bartascka – Lithuania, 2013

«You have a nice atmosphere and I really like the connection between the lecturers and the students. You are sure to get help when you need it and get good critics on your work and projects».Mara Friedrich – Germany, 2015

«ESAD is a great school and people who work here are very nice. They are always patient, trying to explain everything, very concerned about each student. This is very important».Emilie Fermis – France, 2016

«In general I really liked the relationship between students and lecturers; it is more a friendly relationship than strict teaching behaviour».Christina Schnitzer – Austria, 201

Observations about ESAD and Portuguese classmates

Still, Erasmus students call for: punctuality and compliance with deadlines.

They ask lecturers to avoid communication breakdowns, in particular

regarding timetable changes, absences, classes outside the school grounds,

as well as information about projects or materials in Google Classroom

and a faster rate of work from the beginning of the projects, to prevent an

overload at the end. Erasmus students also demand more classes in English,

more stimulation of the students’ critical thinking; promotion and even better

integration of Erasmus students in classes.

The Erasmus experience in Portugal

Overall, the students considered the Erasmus experience in Portugal

to be a valuable opportunity and a fantastic, impressive, unique, huge,

unforgettable, enriching, invaluable, wonderful adventure, which provided

countless occasions to learn, feel and acquire knowledge and to become

more autonomous, self-confident, resilient and open-minded.

«I made myself a promise to never give up like I’ve done sometimes, because Porto taught me that I`m strong enough to rise again and once more».Morgane Lambert – France, 2011

Erasmus was...«a new page in my life, it was the best thingin my small world»Ingrid Klare – Lithuania, 2013

«My Erasmus experience was filled with emotions, knowledge, cultural discoveries, and wonderful encounters». Marine Nouvel – France, 2017

«I think this kind of Erasmus exchange is super important for every single student to develop their personality but also, in wider meaning, important for networking inside Europe».Luise Heinig – Germany, 2017

«The experience in general was very good. I’m glad for this great opportunity. I liked the artistic approach of the school and it was an experience full of suggestions, inspirations and I feel grown up academically».Teresa Cremonesi – Italy, 2018

35\34\

Outgoing students’ testimonials

When outgoing ESAD students complete their mobility experience, we ask

for their testimonial. On these texts, students refer positive and less positive

aspects in relation to the institutions’ departments, the available equipment

for students, lecturers and classmates at these institutions, accommodation,

climate, etc.

Thus, some of the departments of the institutions they attended

were disorganised and bureaucratic, with a lack of equipment, in comparison

to the existing equipment at ESAD. They considered that lecturers were:

a) unprepared to welcome Erasmus students, because they did not speak

English, which created communication failures; b) more distant, less

available, less interested; c) more demanding and giving little feedback on

the projects, which increased the stress when the work was delivered; d) less

concerned in giving guidance on projects and support to Erasmus students;

e) prone to a “more bohemian and free” learning style; f) discriminatory to

Erasmus students; g) confusing and did not communicate about the activity

programming.

As for their fellow classmates, they saw them as unsympathetic,

rude and close-minded, neither speaking nor interacting with them. They

also refer to problems of accommodation and cold. However, the positive

aspects outweigh the negative ones. Among them, the students stressed:

the welcoming atmosphere and a good lecturer-student relationship; the

excellent workshops and self-service equipment (black and white printers

in classrooms, hole punchers, staplers, etc.); the very complete college’s

programme, with many interesting optional modules; other methods, other

cultures, approaches, type of work, organisation...; more independent work;

an appreciation of the research process; the students’ work in a class being

assessed by all lecturers together; new ways of thinking and researching (not

just the internet, but also books, visits/observation, interviews, fieldwork ...);

a greater freedom to create, explore, develop and communicate each one’s

perspective; the works that allowed the inclusion of personal aspects but

were also linked to the real world; the approach to current, political, social,

environmental issues; how classes could be described as conversations,

meetings, tutorials with suggestions for improvement and time to give and

get feedback; the promotion of critical judgment (having a critical opinion,

curiosity, reading, reflecting, interpreting) and self-criticism; working more

out of class (at home, library, studio, street ...); the higher quality and rigour

in the work developed; a different education system with new methods and

new challenges; the creation of their own work proposals (self-initiated

projects); the development of new techniques and sharing of references;

more organisation in the delivery dates, proposals and class structures.

In broad terms, the outgoing ESAD students think that the experience,

carried out in countries with different mindsets, rhythms, languages and

cultures, constituted a great opportunity for knowledge, growth and personal

fulfilment. It also developed their artistic, cultural and professional skills

and it posed a challenge that tested patience, mental strength, adaptability,

resilience, perseverance and individual capacities.

Having left their comfort zone, students acknowledge that they

have acquired more independence, autonomy and a sense of responsibility

and management. They have learned to: overcome communication barriers,

especially when one is introverted and shy; deal with the unknown, breaking

cultural barriers, broadening horizons, developing relational and intellectual

skills; improve or learn new languages; shed fears, solve problems and find

solutions; listen, watch and experience different things; shape or change

viewpoints; set new and more ambitious goals.

For all these reasons, the Erasmus experience is a period of growth

and learning, providing added value and a fantastic opportunity to acquire

new knowledge and new methods, to discover new places, people, cultures,

traditions and different political realities, to establish new friendships and

contacts. It is, thus, one of the best life experiences students can have,

Erasmus enables incredible experiences, knowledge, friendships, memories

and emotions that will remain for life.

«Knowing how to manage priorities and your time,... being responsible for yourself, if not, we will finish college with the mentality that we left high school ...»Raul Ramos Pinto - Kinsgton London, England, 2018

«...the best and most challenging experience of my life... an adventure in terms of individual learning: I’ve challenged myself, I’ve found myself in situations in which I had never been and I would not even imagine being, I got to know myself better, I also became a better person, more responsible, more interested, more motivated, more organised and above all more dreamy... I grew up as a designer and stopped being afraid of having chosen this course (fashion), stopped being afraid of the future and stopped being afraid of not being capable ».Maria Cunha - LCI Barcelona, Spain, 2019

Everyone states that this experience is a must in each student’s

academic path. A great amount of dedication and commitment is needed, so

they leave the following recommendations to future candidates, in order to

be prepared in advance for a difficult start, outgoing students should focus:

a) on studying and making friends to get to know the country’s culture and

language; b) on defining in advance the modules they are going to take and

the language of the host country; c) on guaranteeing accommodation before

leaving (this is the biggest difficulty); d) on seeking to communicate and

interact with regular students (going alone requires greater interaction); e)

on having an adventurous spirit and being open-minded; f) on contacting the

local Student Association and ESN (Erasmus Student Network) previously.

It is interesting to note that some of the less positive aspects

coincide in the incoming and outgoing students’ testimonials, such as:

complaints of some discriminatory treatment of Erasmus students; the

poor integration with regular students; communication difficulties with

some lecturers. On the positive side, in addition to the specific skills set

out above, incoming and outgoing students highlight the contribution to

self-knowledge, confidence, autonomy, independence, ability to adapt and

overcome, and their new world views.

«I grew up as a person and as a student. New working methods emerged, I had to adopt new languages, new ways of perceiving what surrounded me! Today I am a new person, a more capable person...».Tiago Soares - ISIA Urbino, Italy

«A unique experience that forever changed the way I see the world and my values, above all, as a person and as an artist/designer...».Ana Silveira - Polytechnic of Milan, Italy

«A wonderful experience, it made me develop many skills, mainly in the field of communication, problem solving and sociability».Rebeca Viana - FH Mainz, Germany

«In my case Erasmus was the best thing that could have happened to me. It was an opportunity to have a new experience, to see a new country, to establish new connections and friends. It opened my mind. For me it was like restarting life, it was a starting point for change».Inga Gailite – Latvia, 2011

37\36\

«I made a lot of new friends, developed positive emotions, and most importantly I gained a huge luggage of knowledge. This was an invaluable experience that will help me later, in my profession».Julia Mateja – Latvia, 2011

«I made myself a promise to never give up like I did sometimes, because Porto taught me that I’m strong enough to rise again and once more...».Morgane Lambert – France, 2011

«Erasmus was...a new page in my life, was the best thing in my small world...».Ingrid Klare – Lithuania, 2013

«I wish this experience to everyone, because its makes us autonomous, better with yourselves...».Ophélie Madeira - France, 2019

Lecturers and Staff mobility

Regarding lecturers and staff mobility, the situation is similar. Over the past

10 years these outgoing mobilities have grown slightly, reaching the highest

number of lecturers (6) and other staff (3) in 2020/2021. Conversely, we

are pleased to note that in the same period of time there is a high number

of incoming lecturers and staff. The figures shown in the bar graph 2 are

expressive.*

Although figures vary from year to year, on average around 20

different nationalities move around ESAD, which gives a cosmopolitan

atmosphere to the college. Due to vicinity and historical-cultural reasons, the

most represented country in the facilities is obviously Spain, which includes

student and staff mobility. In regarding student’s mobility, the countries

which follow are Lithuania and Poland. Though, currently there is a marked

increase in the number of German students. Regarding staff mobility, Spain

is followed by Turkey, Poland, Lithuania and Greece.

Erasmus mobility implications for HEI and its participants

In conclusion, the Erasmus experience brings great institutional and individual

benefits, among which we emphasise:

• The cross-cultural exchange of knowledge, experience and points

of view, obtained in different countries, that also shed a light on which

content is worked on the same fields of study in each country;

• The enrichment of the debate, bringing experiences from different

countries, new references and perspectives;

• To allow, both lecturers and students, to compare, assess and

evaluate the quality of teaching-learning at ESAD in relation to other colleges

in very different countries and cultures;

• To enhance in a very direct way the improvement and updating of

pedagogical performance by stimulating a motivating, diversified exchange

of ideas, working methods and requirements, resulting from the discussion

with lecturers and students in incoming mobilities;

• The substantial improvement in the capacity of all participants

to face the world in a more global way, enhancing greater knowledge and

intellectual openness for each person’s future activity.

The outgoing mobility, in addition to being a challenging and

rich experience, allows: to share and compare experiences; to confront

students and staff (lecturers or others) with new concepts, projects and

methodologies, about which they give feedback after they return to ESAD; to

improve key academic and language skills within the EU and in a globalised

world; to enrich their personal curriculum; to create different conditions

and opportunities to access the labour market, in a more autonomous and

dynamic way.

Incoming mobilities, in turn, bring with them new mindsets, ways of

thinking and doing, which challenge and stimulate ESAD students, lecturers

and staff. These mobilities of students, lecturers and other staff contribute to

the internationalisation of the classroom and the modernisation of curricula

by: teaching distinct themes or carrying out different exercises in the various

modules; adopting innovative methodologies; and putting ESAD in touch with

contrasting international realities.

The success of the students’ mobilities, incoming and outgoing,

creates an incentive for new mobilities and it is even a marketing tool to

attract international students who will come to ESAD to complete their

courses, carry out master’s degrees, attend postgraduate courses or

“Summer Schools”. The lecturers and staff mobility allows and encourages

the exchange of good practices and enhances future participation in new joint

projects under the Erasmus Programme or otherwise, including organising

visits, competitions or conferences, as well as promoting research projects

together.

It is obvious that ESAD’s participation in the Erasmus+ Programme,

namely in the activities of the KA1 Action but also KA2, is a structuring

element in its internationalisation strategy.

To be involved in the Erasmus+ programme means challenge,

enrichment, effort and improvement for the institution in general and for

participants in particular. There is stimulation to search for new opportunities

and to choose different learning paths by introducing an international

component in training and allowing contact with novel approaches to

teaching-learning models, projects and methodologies, which will result in a

very positive impact on the college.

All the players in these mobilities are better able to operate in

a more consistent and innovative way in different contexts, national and

international. Indeed, the mobility experience gives Higher Education

students a pedagogical, technical, cultural dimension and an experience

impossible to obtain through their national academic environment.

Knowing new schools, lecturers with different attitudes of mind,

as well as new countries, regions, cities, societies, cultures and languages

enables varied and stimulating experiences that will certainly last for life.

bar graph 02STA/STT incoming mobility (2010-2020)

0 10 20 30 40 50 60 70 80 90 100

STASTT

AUSTRIA

BELGIUM

CROATIA

CZECH REP.

DENMARK

ESTONIA

FINLAND

FRANCE

GERMANY

GREECE

HUNGARY

ITALY

IRELAND

LITHUANIA

MALTA

POLAND

SCOTLAND

SPAIN

ROMANIA

TURKEY

UK

39\A participação empenhada e ativa da ESAD nos programas de mobilidade

(Sócrates/Erasmus/Erasmus+) é quase tão antiga como a própria Escola.

De facto esta foi fundada em 1989 e logo em 1992 recebeu os primeiros alu-

nos incoming em mobilidade. Este texto tem como objetivo fazer uma breve

reflexão sobre a mobilidade Erasmus baseada nos testemunhos de mobili-

dade dos estudantes, dos docentes e do staff da Escola Superior de Artes e

Design – mobilidade OUT – e dos estudantes europeus que nos visitam - mo-

bilidade IN.

Mobilidade de Estudantes

Com o decorrer dos anos, os Acordos Bilaterais foram-se diversificando e

multiplicando e o número de alunos em mobilidade OUT ou IN foi crescendo

gradualmente. Se até 2006/2007, com exceção do ano 2005/2006, o número

de mobilidades OUT foi sempre ligeiramente superior às mobilidades IN, a par-

tir de 2007/2008 o número de mobilidades IN disparou, atingindo um núme-

ro record no ano académico de 2011/2012 em que os alunos Erasmus IN eram

mais de 12% dos alunos da Escola, como se pode ver no gráfico 1.

\A Desafiante Experiência Erasmus na ESAD.Uma Breve Reflexão

Antonino [email protected] [email protected] Rui [email protected] - Escola Superior de Artee Design de MatosinhosPortugal


A que se deve este assinalável aumento? Quais as razões da atra-

tividade da ESAD? As respostas poderemos encontrá-las nos testemunhos

que os alunos, no final de cada período Erasmus, nos dão por escrito.

Testemunhos dos estudantes em mobilidade IN

Genericamente, nos testemunhos recolhidos entre 2010 e 2020, os estu-

dantes referem-se ao que os atraiu e fascinou no nosso país, nas cidades de

Porto e Matosinhos e na ESAD: a) enquanto instituição de ensino, às suas ins-

talações e infraestruturas, aos serviços e aos equipamentos disponibilizados

a toda a comunidade educativa; b) ao ambiente escolar; c) à qualidade aos

inúmeros eventos que se realizam em termos culturais e científicos; d) à di-

versidade e elevado números de estudantes que caraterizam a comunidade

Erasmus; e) às qualidades dos docentes em termos científicos, relacionais e

motivacionais; f) à experiência Erasmus em Portugal.

Deixam ainda alguns apelos à ESAD, aos docentes e aos colegas por-

tugueses e sinalizam algumas limitações que vão desde a interação que es-

tabelecem com os estudantes portugueses que frequentam a ESAD à atitude

de alguns destes nas aulas, já que não conduzem ao melhor aproveitamen-

to das condições que a ESAD lhes proporciona em termos de equipamento e

qualidade de ensino.

Portugal e as cidades do Porto e Matosinhos

Em termos gerais, um primeiro fator apontado é o facto de o país e a ci-

dade serem apelativos. O país, dizem, é inacreditável e surpreendente pelo

clima, beleza, cultura e o custo de vida mais acessível. Por sua vez a cida-

de do Porto é maravilhosa, incrível, fantástica, fascinante, mágica, vibrante,

cheia de vida e encanto, dinâmica e jovem, antiga e moderna, adventurous

and fairy tale, charm and warmly, com sítios maravilhosos (Ribeira, Palácio

Cristal, Casa da Música, pontes...), inúmeros eventos culturais e, claro, as

crazy nights. E a Matosinhos não falta o ambiente pacífico, a arquitetura de

Távora, Siza Vieira e Souto Moura, o oceano, a praia, o surf, os passeios e o

pôr-do-sol à beira-mar. Junte-se-lhe a boa comida, o peixe fresco, as fran-

cesinhas, as frutas, o queijo, o pão, os doces (pastel de nata à cabeça), o café,

o vinho... e sobretudo a sociedade amigável e mais relaxada com pessoas

genuínas, polidas, gentis, amáveis, calorosas, amistosas, sorridentes, aber-

tas, prestáveis, hospitaleiras.

Como não há bela sem senão, sobram algumas queixas relativas ao

frio, à chuva e humidade e aos alojamentos pela sua escassez, preço elevado

e, sobretudo, devido à falta de adequada climatização.

A ESAD

Em termos específicos da Escola os testemunhos valorizam especialmente:

as boas instalações, infra-estruturas, serviços e equipamentos disponibili-

zados com destaque para oficinas, salas de informática, papelaria, serigra-

fia, estúdio de fotografia, estúdio de som, cantina (“The best academic Cafeteria in the world”, Matas Bartaska - Lithuania, 2013) a biblioteca (“The library is the most beau-tiful place EVER! So well done! Wow, all those books, there clearly was an investment made, it was wonderful to open all those books for inspiration”. Hannah Declerck - Belgium, 2017), relvado exterior, o espaço micro-ondas, o online Google classroom, etc.

Contudo, alguns testemunhos sugerem a necessidade de uma melhor in-

sonorização e climatização e a melhoria ou reforço de alguns equipamen-

tos em salas de aula.

pt

1993-94 1994-95 1995-96 1996-97 1997-98 1998-99 1999-00 2000-01 2001-02 2002-03 2003-04 2004-05 2005-06 2006-07 2007-08 2008-09 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 2017-18 2018-19 2019-20

120

100

80

60

40

20

0

Incoming Outgoing Internships

gráfico 01mobilidade de alunosincoming e outgoing

41\40\

O ambiente

O ambiente geral é considerado fantástico, acolhedor, com atmosfera calo-

rosa e criativa favorável à experimentação, com inúmeros eventos de gran-

de qualidade (conferências Personnal Views, Id Talks, Web Talks, worshops,

exposições). A existência de uma grande e diversificada comunidade Eras-

mus que permite o contacto com diferentes línguas, culturas e tradições é

também salientada.

Há, contudo, uma crítica recorrente ao facto de os estudantes por-

tugueses serem um pouco distantes, interagirem pouco e formarem grupos

fechados mesmo em sala de aula apesar de, se solicitados, serem disponí-

veis, prestáveis e amigáveis. Outra crítica é à falta de pontualidade, motiva-

ção, empenho e atitude mais relaxada de alguns desses alunos nas aulas,

considerando que não tiram partido do que lhes é oferecido em termos de

equipamentos e qualidade de ensino.

«People in ESAD are nice and helpful. The facilities are decent and the atmosphere is pleasant».Silja Suomalainen – Finlândia, 2016

«Basically you have all the amenities right in front of you, which were good for the workflow and ambience in ESAD. I can only recommend doing Erasmus at ESAD if you want to improve your design skills and enjoy an awesome city».Helena Pichler –Áustria, 2016

«...the school is really homely and manageable... My first impression of feeling at home was underlined by the kindness of students, professors and the whole staff. The personnel were very friendly and helpful to all students, especially international».Christian Baba – Alemanha, 2017

O staff

Quanto ao staff as opiniões são unânimes: desde a cantina ao serviço de im-

pressão e papelaria, da secretaria às funcionárias da limpeza, das oficinas ao

guarda de segurança...são elogiados como muito simpáticos, acessíveis, ami-

gáveis, prestáveis.

«...the school staff is very friendly, I love the way the cleaners are so happy and always say, “Bom Dia”».Grace Thomas – Inglaterra, 2016

«Also the staff is really nice and cosy, everyone makes you feel like home, starting from the man in reception that always greets everyone, and finishing to the funny women at the bar».Alessia Buono – Itália, 2017

«...The ESAD staff is also great, they are very nice and willing to help».Julian Afán – Espanha, 2019

Os professores

Em relação aos professores a grande generalidade dos alunos Erasmus, além

do bom trato, contacto fácil, liberal e aberto, elogiam o facto de: serem muito

profissionais, amigáveis, sorridentes interessados, motivadores, comprometi-

dos e apaixonados pelo trabalho, exigentes, críticos, encorajadores; saberem

orientar, corrigir e desenvolver a autocrítica; estimularem e valorizarem a cria-

tividade e não apenas a parte técnica; retificarem, animarem, motivarem e en-

tusiasmarem, incluindo a elogiada participação em concursos.

«Esad is a place which makes you push your limits and want to be better».Gurol Vural – Turquia, 2012

«ESAD provides a very straight forward teaching regime, were lecturers are the strong point».Matas Bartascka – Lituânia, 2013

«You have a nice atmosphere and I really like the connection between the lecturers and the students. You are sure to get help when you need it and get good critics on your work and projects».Mara Friedrich – Alemanha, 2015

«ESAD is a great school and people who work here are very nice. They are always patient, trying to explain everything, very concerned about each student. This is very important».Emilie Fermis – França, 2016

«In general I really liked the relationship between students and lecturers; it is more a friendly relationship than strict teaching behaviour».Christina Schnitzer – Áustria, 2018

Apelos à ESAD e aos colegas portugueses

No entanto, os estudantes Erasmus, apelam a que: haja mais rigor em ter-

mos de pontualidade e cumprimento de deadlines; se evitem falhas de co-

municação com os alunos Erasmus nomeadamente em termos de alteração

de horários realizada, faltas, realização de aulas fora do recinto escolar, di-

vulgação de projetos ou materiais no Google Classroom ; se imprima um

maior ritmo de trabalho desde início dos projetos para evitar concentração

no fim; se lecionem mais aulas em Inglês; se incentive mais o pensamento e

o espírito crítico dos estudantes; se promova mais, e melhor ainda, a integra-

ção dos estudantes Erasmus nas aulas.

A experiência Erasmus em Portugal

Globalmente, consideraram que a experiência constituiu uma preciosa opor-

tunidade e uma fantástica, fenomenal, única, enorme, inesquecível, enrique-

cedora, inestimável, maravilhosa aventura pelas inúmeras oportunidades

que proporcionou para saber, sentir, aprender e se tornarem mais autóno-

mos, autoconfiantes, resilientes e abertos.

«I made myself a promise to never give up like I’ve done sometimes, because Porto taught me that I`m strong enough to rise again and once more».Morgane Lambert – França, 2011

Erasmus was...«a new page in my life, it was the best thingin my small world»Ingrid Klare – Lituânia, 2013

«My Erasmus experience was filled with emotions, knowledge, cultural discoveries, and wonderful encounters». Marine Nouvel – França, 2017

«I think this kind of Erasmus exchange is super important for every single student to develop their personality but also, in wider meaning, important for networking inside Europe».Luise Heinig – Alemanha, 2017

«The experience in general was very good. I’m glad for this great opportunity. I liked the artistic approach of the school and it was an experience full of suggestions, inspirations and I feel grown up academically».Teresa Cremonesi – Itália, 2018

43\42\

Testemunhos dos estudantes de mobilidade OUT

O mesmo tipo de testemunho solicitamos aos alunos da ESAD quando con-

cluem a mobilidade OUT. Da análise desses testemunhos mencionam-se

alguns aspetos menos positivos e mais positivos relativamente aos departa-

mentos das instituições, aos equipamentos disponibilizados aos estudantes,

aos docentes e colegas dessas instituições, ao alojamento, clima, etc.

Assim, alguns dos departamentos das instituições que frequenta-

ram eram desorganizados e burocráticos, havendo falta de equipamentos,

por comparação com os que existem na ESAD. Relativamente aos docentes

consideraram-nos: a) impreparados para receber Erasmus, além de que não

falavam Inglês o que gerava falhas de comunicação; b) mais distantes, me-

nos disponíveis, menos interessados; c) mais exigentes e dando pouco fee-

dback dos projetos gerando stress final aquando a entregas dos trabalhos;

d) com lacunas de acompanhamento e apoio aos estudantes Erasmus, e) fo-

mentando um estilo de aprendizagem «mais boémio e livre»; f) tratamento

discriminatório dos estudantes Erasmus; g) falta de organização e comunica-

ção sobre programação de atividades. Quanto aos seus colegas estudantes

reguçares consideram-nos antipáticos, rudes e fechados, não falando nem

interagindo com eles. Referem-se ainda a problemas de alojamento e frio.

Porém, os aspetos positivos, sobrelevam os negativos. Entre eles os

estudantes destacaram: ambiente acolhedor e boa relação professor-alu-

no; as escolas disporem de excelentes oficinas e equipamentos self-service,

impressoras a preto e branco nas salas de aula, furadores, agrafadores, etc;

plano escolar muito completo e com muitas e interessantes optativas; ou-

tros métodos, outras culturas, abordagens, tipo de trabalhos, organização...;

trabalho mais independente; valorização do processo de pesquisa; avaliação

dos trabalhos em conjunto (todos os docentes avaliam em conjunto os tra-

balhos de todos os estudantes da turma); novos modos de pensar e pesqui-

sar (não só internet: livros, visitas / olhos, entrevistas, trabalho de campo...);

maior liberdade de criar, explorar, desenvolver e comunicar a “nossa” pers-

petiva; trabalhos que permitiam vertente pessoal e ligados ao mundo real;

abordagem de temas da atualidade, políticos, sociais, ambientais; aulas eram

mais conversas, reuniões, tutorias com sugestões para melhorar e tempo de

dar e receber feedback; estimular o espírito crítico (ter opinião crítica, curio-

sidade, ler, refletir, interpretar) e a autocrítica; trabalhar mais fora de aula:

em casa, biblioteca, estúdio, rua...; maior qualidade nos trabalhos desenvolvi-

dos e exigência; sistema de ensino diferente - novos métodos novos desafios;

criar as próprias propostas de trabalho (self initiated projects); trabalhar no-

vas técnicas e partilhar referências; mais organização nas datas de entregas,

propostas e estruturas das aulas.

Em termos gerais, consideram que a experiência, realizada em paí-

ses com mentalidades, ritmos, línguas e culturas diferentes, constituiu uma

grande oportunidade para o conhecimento, crescimento e realização pessoal,

o enriquecimento artístico, cultural e profissional e um desafio que testou a

paciência, força mental, capacidade de adaptação, superação e perseveran-

ça e colocou competências à prova.

Ao obrigarem-nos a sair da zona de conforto os estudantes assu-

mem que adquiriram mais independência, autonomia, gestão e sentido de

responsabilidade e aprenderam a: a superar barreiras comunicacionais so-

bretudo quando se é introvertido e tímido; saber lidar com o desconhecido,

quebrar barreiras culturais, alargar horizontes, desenvolver capacidades re-

lacionais e intelectuais; melhorar ou aprender novas línguas; perder medos,

resolver problemas e encontrar soluções, «desenrascar-se»; ouvir, observar

experimentar coisas diferentes; adquirir ou mudar a perspetiva das coisas;

estabelecer novos e mais ambiciosos objetivos.

Por tudo isto, a vivência Erasmus foi fase de crescimento e apren-

dizagem constituindo uma mais-valia e uma oportunidade fantástica para

adquirir novos conhecimentos e novos métodos, conhecer novos sítios, pes-

soas, culturas, tradições e realidades políticas diferentes, diversificar amiza-

des e contactos. Foi, assim, a melhor experiência de vida e para toda a vida

ficam vivências incríveis, conhecimentos, amizades, memórias, emoções.

«Saber gerir as prioridades e o seu tempo,...ser responsável por si próprio,se não for assim, acabaremos a faculdade com mentalidade com quesaímos do secundário...».Raul Ramos Pinto - Kinsgton London, Inglaterra, 2018

«...a melhor e mais desafiante experiência da minha vida...uma aventura em termos de aprendizagem individual: desafiei-me, vi-me em situações nas quais nunca havia estado e nem imaginaria estar, fiquei a conhecer-me melhor, tornei-me também uma pessoa melhor, mais responsável, mais interessada, mais motivada, mais organizada e sobretudo mais sonhadora...cresci enquanto designer e aprendi a não ter medo de ter escolhido este curso (moda), a não ter medo do futuro e não ter medo de um dia não ser capaz». Maria Cunha - LCI Barcelona, Espanha, 2019

Todos referem que experiência é algo a não perder no percurso aca-

démico, referem a necessidade de muita dedicação e empenho e deixam

recomendações aos futuros candidatos. Tais como: - preparar-se antecipa-

damente para início difícil...; ir focado: a) em estudar e fazer amizades para

conhecer a cultura e língua do país; b) definir previamente as unidades cur-

riculares que vão fazer e língua do país de destino; c) garantir alojamento

antes de partir porque esta é a maior dificuldade; d) procurar comunicar e in-

teragir com os estudantes regulares (ir sozinho(a) obriga a maior interação);

e) ter espírito de aventura e abertura; f) contactar previamente Associações

de estudantes e ESN (Erasmus Student Network) locais.

É curioso verificar que há aspetos menos positivos coincidentes nas

apreciações dos estudantes IN e OUT: queixas de algum tratamento discri-

minatório dos alunos Erasmus; a fraca integração dos / com os estudantes

regulares; as dificuldades de comunicação com alguns professores. Em ter-

mos positivos, além das competências específicas atrás enunciadas, uns e

outros relevam o contributo para auto-conhecimento, a confiança, a autono-

mia, a independência, a capacidade de adaptação e superação e as mundivi-

dências adquiridas.

«Cresci como pessoa e como estudante. Novas formas de trabalho surgiram, fazendo-me adotar novas linguagens, novas formas de percecionar o que me rodeava! Hoje sou uma pessoa nova, uma pessoa mais capaz...».Tiago Soares - ISIA Urbino, Itália

«Experiência única que mudou para sempre a maneira como eu vejo o mundo e os meus valores, acima de tudo, como pessoa e artista/designer...».Ana Silveira - Polytechnic of Milan, Itália

«Uma experiência maravilhosa, forçou-me a ganhar muitas competências principalmente no âmbito da comunicação, resolução de problemas e sociabilidade».Rebeca Viana - FH Mainz, Alemanha

«In my case Erasmus was the best thing that could have happened to me. It was an opportunity to have a new experience, to see a new country, to establish new connections and friends. It opened my mind. For me it was like restarting life, it was a starting point for change».Inga Gailite – Letónia, 2011

45\44\

«I made a lot of new friends, developed positive emotions, and most importantly I gained a huge luggage of knowledge. This was an invaluable experience that will help me later, in my profession».Julia Mateja – Letónia, 2011

«I made myself a promise to never give up like I did sometimes, because Porto taught me that I’m strong enough to rise again and once more...».Morgane Lambert – França, 2011

«Erasmus was...a new page in my life, was the best thing in my small world...».Ingrid Klare – Lituânia, 2013

«I wish this experience to everyone, because its makes us autonomous, better with yourselves...».Ophélie Madeira - França, 2019

Mobilidade de Docentes e Staff

Em relação à mobilidade de docentes e outro staff a situação é semelhante.

Nos últimos 10 anos estas mobilidades OUT foram crescendo ligeiramente,

atingindo em 2020/2021 o número mais elevado de docentes (6) e de outro

staff (3). Em contrapartida, apraz-nos registar no mesmo período de tempo

o elevado número de mobilidades de docentes e staff IN. Os números eviden-

ciados no gráfico 2 são eloquentes.

Embora com variações de ano para ano, em média, circulam pela

ESAD cerca de 20 nacionalidades diferentes o que cria na ESAD um ambiente

de certo cosmopolitismo. Naturalmente que por razões de vizinhança e his-

tórico-culturais o país mais representado é Espanha, quer em mobilidade de

estudantes quer de staff. Na mobilidade de estudantes seguem-se depois a

Lituânia, Polónia..., verificando-se atualmente o crescimento acentuado da

procura por parte de alunos alemães, enquanto no staff à Espanha se se-

guem Turquia, Polónia, Lituânia e Grécia.

Implicações da mobilidade Erasmus para a IES e seus participantes

Em jeito de conclusão, podemos afirmar que a experiência Erasmus traz

grandes benefícios institucionais e individuais entre os quais destacamos:

• A partilha cultural, de conhecimentos, experiências e pontos de viss-

ta adquiridos nos diferentes países em relação a conteúdos das mesmas áre-

as de estudo;

• O enriquecimento do debate, trazendo experiências de diferentes

países, novas referências e olhares;

• O permitir, tanto a docentes como a estudantes, comparar, medir e

avaliar a qualidade do ensino-aprendizagem da ESAD relativamente a outras

escolas de países e culturas muito distintas;

• O potenciar de forma muito direta a melhoria e atualização do dee-

sempenho pedagógico ao estimular uma motivadora, diversificada partilha

de ideias, métodos de trabalho e exigências resultante da troca direta de im-

pressões com os docentes e estudantes em mobilidades IN;

• A melhoria substancial da capacidade de todos os participantes enn-

cararem o mundo de uma forma mais global, potenciando um maior conhec-

imento e abertura intelectual para atividade futura de cada um.

As mobilidades OUT, para além de constituírem uma experiência de-

safiadora e rica de vida, permitem: partilhar e comparar experiências; con-

frontar estudantes e funcionários (docentes ou outros) com novos conceitos,

projetos e metodologias das quais dão retorno após o regresso; melhorar as

competências académicas e linguísticas fundamentais no seio da UE e num

mundo globalizado; enriquecer o currículo pessoal; criar diferentes condi-

ções e oportunidades para, de forma mais autónoma e dinâmica, acederem

ao mercado de trabalho.

Por sua vez, as mobilidades IN trazem consigo novas mentalidades,

formas de pensar e fazer, que confrontam e estimulam os estudantes e os

docentes e funcionários da ESAD. Estas mobilidades de estudantes, docen-

tes, e outro staff contribuem para a internacionalização da sala de aula e a

modernização dos currículos ao lecionarem temas ou realizarem exercícios

diferentes nas várias Unidades Curriculares (UCs), ao adotarem metodolo-

gias diferentes e inovadoras e ao colocar a ESAD em contacto com diversas

realidades internacionais.

O sucesso das mobilidades de estudantes IN e OUT serve de incen-

tivo a novas mobilidades e, até, de marketing para a atração de estudantes

internacionais que, como estudantes regulares, vêm concluir os seus cursos,

realizar mestrados, frequentar pós-graduações ou “Summer Schools”. As

mobilidades de professores e staff permitem e incentivam a partilha de boas

práticas e potenciam participações futuras em novos projetos conjuntos ao

abrigo do Programa Erasmus ou de outro tipo como orientação de visitas, de

organização de concursos, participação em conferências ou dinamização de

projetos de investigação conjuntos.

É evidente que a participação da ESAD no Programa Erasmus+, no-

meadamente nas atividades da Ação KA1 mas também KA2, é um elemento

estruturante na sua estratégia de internacionalização.

Participar no programa significa desafio, enriquecimento, esforço e

melhoria a nível da Instituição em geral e dos participantes em particular. O

impacto Erasmus, ao explorar novas oportunidades, ao diversificar os per-

cursos de ensino e aprendizagem, ao introduzir uma componente internacio-

nal na formação e permitir o contacto com modelos, projetos e metodologias

inovadores de ensino-aprendizagem, é muito positivo.

Os intervenientes nas mobilidades ficam mais aptos a operar de for-

ma mais consistente e inovadora em contextos nacionais e internacionais.

Efetivamente, a experiência da mobilidade dá aos estudantes uma dimensão

pedagógica, técnica, cultural e de vivência impossível de obter apenas atra-

vés do seu meio académico nacional.

Conhecer novas escolas, diferentes docentes no que diz respeito à

forma de ser, novos países, regiões, cidades, sociedades, culturas e linguagens

permite novas e estimulantes vivências que certamente perdurarão para a vida.

gráfico 02mobilidades STA/STT IN (2010-2020)

0 10 20 30 40 50 60 70 80 90 100

STASTT

AUSTRIA

BELGIUM

CROATIA

CZECH REP.

DENMARK

ESTONIA

FINLAND

FRANCE

GERMANY

GREECE

HUNGARY

ITALY

IRELAND

LITHUANIA

MALTA

POLAND

SCOTLAND

SPAIN

ROMANIA

TURKEY

UK

47\46\ Nobody knows where knowledge was born. Not even knowledge knows

much about it when mentioned. We look for clues, we find traces, we gather

evidence: fossils, utensils, clothing, toys, books, paintings, sculptures, texts,

which were hidden, scattered, stored, filed by civilizations, cultures, times,

places, events. We rest our heads on what we have, we wake up alarmed by

what we lack. Backing in time and traversing space, we enter a room with no

light. Let us leave it in the black box and continue outside the box.

Let us imagine little, very little knowledge. Knowledge that fits in

one or two open hands, «It is neither knowledge nor anything else». Maybe,

but nobody says that about a baby. Nobody says that a baby is not a baby

or nothing at all just because he is small. Let us think about the first steps

of Knowledge, when it still did not know how to walk, of Knowledge’s first

words-that-were-not-yet-words. Subject and object of itself, without even

knowing what that was, Knowledge began to be clarified with easy difficulty

and disconcerted with difficult ease. Knowledge learnt how to range and

rearrange reason and intuition, trying to define the first and revealing - not

knowing how - the contours of the second. It might not be a special knowledge,

but it was beginning to know itself better than anyone else: knowledge of

itself through itself, of itself through others. All this hustle and bustle gave it

a quiet, [in]sensitive and [un]attentive attitude.

Well, but who did Knowledge grow up with? In the neighbourhood,

the rumours did not go unnoticed: what a large family! Is Question the

mother? And if Question is the mother, who is the father? The Answer? Are

they adoptive parents? And who are all those people, holding Knowledge in

their arms, hands, riding piggyback, coming and going by car, by bus?

The father had an answer for everything. Even for what was never

asked. The mother had questions for everything that does not exist without

questions. And it asked again, even when Answer spent the day away working

in the Certainty field. If Knowledge went out with its mother, it was questions

after questions: are you okay? Did you eat everything? You’re cold? Do you want

\All in the Family.A Familiar Mnemonic of Knowledge at Coffee Break, Before or After Class

Emílio [email protected] — College of Arts and Designof MatosinhosPortugal

keymordsdesignschoolcriativitythemesethics and designthe role of education for good design (ir)responsibility of design

en

this? Did you see that? As much as the inquiry was sometimes annoying, it felt

that the simplest question transformed Knowledge into another Knowledge.

If it went out with its father, it was the answer that prevailed. But also in this

realm, Knowledge was the prince, listening to its paternal answers: it’s blue!

It’s bad for you! It’s four o’clock! Tomorrow! Yes of course! And as much as

he compared its father’s answers with other answers which, at that moment,

were seemingly more appropriate, the truth was that Knowledge felt its self-

knowledge increased, which Intention had already told him in the bakery line.

As Knowledge grew up, it noticed that Answer didn’t understand or

didn’t want to understand the question. And that Question did not recognise

or did not want to recognise the answer. But it also saw how Answer

engaged in the question or Question smiled with the answer reaching its lips.

Understandably, Knowledge was the one who made the most of it.

The great-grandmother Empirical kept talking about its ancestors:

Community, Work, Culture, Experience, Will, Friendship, Perception. And

Knowledge went out of itself, spent hours and hours listening as if it knew

nothing, until it came back to itself having assimilated everything. And, perhaps,

forgotten the next day. Grandfather Study taught him tricks by winking.

Grandmother Investigation deepened the lesson with methods that led him

to Exhaustion, who would give it dinner and put it to bed. Aunt Research

preferred exciting mornings between brothers and sisters. Curiosity tripping

up Patience, the Discipline and Indiscipline twins stretching the rope, Mistake

falling down. Observation and Attention with a magnifying glass around the

house, Persistence who only Reading or Detail would convince to get out of

the room and go to the library or the garden and collect something for Archive,

who practically lived in the basement. Knowledge still remembered its short

but boring time as an only child. Soon a brother was born, Amazement, and

a sister, a small and big Surprise. Organisation came much later. But it was

the first to ask Knowledge seriously: what do you want to be when you grow

up? Scientific knowledge? Technical? Artistic? Cosmopolitan? Specialised?

Interdisciplinary? Logical? Applied? Poetic? Practical? Useful?

When Autonomy was born, Capacity was already crawling and had

dragged it to face Trust. Before or after School, where it had a direct contact

with Matters, Methodologies and Assessments, Knowledge regularly visited

its godmother Metaphor, who gave him with Enthusiasm, his godfather, some

tips on how to deal with the coming Freedom, Discovery, Emotion, Exotic and

other cousins that it had not yet met. Knowledge took on Trip challenge and

ventured out. It went and came back and went and came back again. And of

all it saw, heard and felt, what impressed it the most was a conversation

between Memory and Oblivion somewhere in a square. Memory talked, talked

and talked. Oblivion didn’t say a word or raise its eyes.

Knowledge has grown immensely; it became what we know today.

But it always returns to its origins, to the family in which it will always be the

little Knowledge, who does not stop playing ball or being afraid to climb trees.

A little more than one year ago, I went to Berlin, in a lecturers’ mobility programme between ESAD and the Berlin International University of Applied Sciences. I would like to thank Antonino for the hallway-talks-because-life-is-fast and Marta, whose hurried step also brings a smiling good-morning. I am grateful to Karin, Alexander and Baris for their warm welcome and the seriously fun days in Berlin. I taught a class and workshop named «Mark Twice», which dealt with the relationship between text and image / drawing / illustration - Mark Twain is still alive in Berlin and more alive than ever - and a lecture on Mother’s Day around museums and books entitled “Is the Question the Mother of Knowledge?”. This question prompted another: “If question is the mother of knowledge, who is the father?”. This is how this small text showed up, in a familiar and not yet annotated version.

49\

res isto? Viste aquilo? Por muito que o inquérito, por vezes, o aborrecesse, sen-

tia que a pergunta mais simples fazia de si outro Conhecimento. Se saía com

o pai, era a resposta que reinava. Mas também neste reino era ele o príncipe,

ouvindo de enfiada as respostas paternas: é azul! Faz-te mal! São quatro ho-

ras! Amanhã! Sim, claro! E por mais que comparasse as respostas de seu pai

com outras que quisesse ouvir ou lhe parecem, no momento, mais adequadas,

a verdade é que sentia aumentar o autoconhecimento do qual o Desígnio já lhe

havia falado, na fila da padaria.

Conforme crescia, o Conhecimento reparava que a Resposta não per-

cebia ou não queria perceber a pergunta. E que a Pergunta não reconhecia ou

não queria reconhecer a resposta. Mas também via como a Resposta se em-

penhava na Pergunta ou a Pergunta sorria com a Resposta a chegar aos lábios.

Compreensivelmente, era ele quem mais ganhava com tudo aquilo.

Bisavó Empírica não parava de falar dos antepassados: a Comunida-

de, o Trabalho, a Cultura, a Experiência, a Vontade, a Amizade, a Perceção. E o

Conhecimento saía de si, ficava horas e horas a escutar como se nada soubes-

se, até voltar a si com tudo assimilado. E, talvez, esquecido, no dia seguinte. O

avô Estudo ensinava-lhe uns truques piscando-lhe o olho. A avó Investigação

aprofundava a lição com métodos que o levavam à Exaustão para lhe dar o

jantar e o meter na cama. Tia Pesquisa preferia as manhãs empolgantes entre

irmãos e irmãs. A Curiosidade a passar rasteiras à Paciência, as gémeas Disci-

plina e Indisciplina a esticar a corda, o Erro aos trambolhões. A Observação e

a Atenção de lupa pela casa, a Persistência, a quem só a Leitura ou o Detalhe

conseguiam arrancar do quarto para a biblioteca ou para o jardim, colher algu-

ma coisa para o Arquivo que praticamente vivia na cave. O Conhecimento ainda

se lembrava do seu curto mas aborrecido tempo de filho único. Logo, logo nas-

cera um irmão que era um Espanto e uma irmã que foi uma pequena e grande

Surpresa. A Organização veio muito mais tarde. Mas foi a primeira a perguntar-

-lhe com ar sério: o que queres ser quando fores grande? Conhecimento Cien-

tífico? Técnico? Artístico? Cosmopolita? Especializado? Transversal? Lógico?

Aplicado? Poético? Prático? Útil?

Quando a Autonomia nasceu, já a Capacidade gatinhava e o tinha le-

vado de rastos a encarar a Confiança. Antes ou depois da Escola, do seu cor-

po-a-corpo com as Matérias, as Metodologias, as Avaliações, o Conhecimento

visitava regularmente a madrinha Metáfora, que lhe dava, com Entusiasmo,

seu padrinho, umas dicas sobre como lidar com a Liberdade que aí vinha, a

Descoberta, a Emoção, o Exótico e outros primos que ele ainda não havia co-

nhecido. E foi pelo desafio da Viagem que o Conhecimento se aventurou. Foi

e voltou e voltou a ir e a vir. E, de tudo o que viu, ouviu e sentiu, o que mais

o impressionou foi uma conversa entre a Memória e o Esquecimento, algu-

res, numa praça. Ela falou, falou, falou. Ele não disse palavra nem os olhos

levantou.

O Conhecimento cresceu imenso, tornou-se naquilo que se sabe. Mas

nunca parte sem regressar às origens, à família na qual será sempre o peque-

no Conhecimento, que não pode deixar de jogar à bola nem ter medo de subir

às árvores.

Há um ano e pouco, fui a Berlim em intercâmbio da ESAD com a Berlin International University of Applied Sciences. Agradeço ao Antonino as conversas-de-corredor-porque-a-vi-da-é-a-correr e à Marta, cujo passo também apressado traz os-bons-dias sorridentes. Agrade-ço à Karin, ao Alexander e ao Baris a receção calorosa e os dias seriamente divertidos em Berlim. Apresentei a aula e workshop «Mark Twice» em torno da relação entre texto e imagem/dese-nho/ilustração – com Mark Twain ainda vivo em Berlim e mais vivo do que nunca – e uma pa-lestra no Dia da Mãe em torno dos museus e dos livros intitulada «Is the Question the Mother of Knowledge?». Esta pergunta motivou outra: «Se a pergunta é a mãe do conhecimento, quem é o pai?». Assim surgiu este pequeno texto, numa versão familiar e ainda não anotada.

O conhecimento nasceu sabe-se lá onde. Nem ele próprio sabe muito dis-

to quando disso fala. Procuramos pistas, encontramos vestígios, guardamos

provas: fósseis, utensílios, vestuário, brinquedos, livros, pinturas, esculturas,

textos, escondidos, espalhados, guardados, arquivados, através de civiliza-

ções, culturas, épocas, lugares, acontecimentos. Descansamos com a cabeça

poisada naquilo que temos, acordamos alarmados com aquilo que nos fal-

ta. Recuando no tempo e percorrendo o espaço, entramos num quarto de luz

apagada. Deixemos isto na caixa negra e continuemos fora da caixa.

Imaginemos um conhecimento pequeno, pequenino. Um conheci-

mento que cabe numa ou duas mãos abertas. «Nem é conhecimento nem é

nada». Talvez, mas ninguém diz isto de um bebé. Ninguém diz que um bebé

não é bebé nem é nada só porque é pequenino. Pensemos no Conhecimento

dos primeiros passos, quando ainda não sabia andar, no Conhecimento das pri-

meiras palavras-que-não-eram-ainda-palavras. Sujeito e objeto de si próprio,

sem saber ainda o que isso era, o Conhecimento começava a esclarecer-se

com fácil dificuldade e a baralhar-se com difícil facilidade. Aprendia a pôr e a

dispor da razão e da intuição, procurando definir a primeira, encontrando, sem

saber como, os contornos da segunda. Podia não ser um conhecimento por aí

além, mas começava a conhecer-se a si mesmo como ninguém: conhecimen-

to de si consigo, de si com os outros. Toda esta azáfama lhe dava uma atitude

[irre]quieta, [in]sensível e [des]atenta.

Adiante. O Conhecimento crescia com quem? Na vizinhança, os rumo-

res não passavam despercebidos: que família numerosa! Será a Pergunta, a

mãe? E se a Pergunta é a mãe, quem será o pai? A Resposta? Serão pais adoti-

vos? E toda aquela gente, a entrar e a sair com o Conhecimento ao colo, às ca-

valitas, pela mão, de automóvel, de autocarro?

O pai tinha resposta para tudo. Mesmo para aquilo que não chegava

a ser perguntado. A mãe tinha perguntas para tudo aquilo que sem perguntas

não existe. E voltava a perguntar, mesmo quando a Resposta passava o dia

fora, a trabalhar no campo das Certezas. Se o Conhecimento saía com a mãe,

era perguntas atrás de perguntas: estás bem? Comeste tudo? Tens frio? Que-

\Tudo em Família.Para uma Mnemónica Familiar do Conhecimento,à Hora do Café, Antes ou Depois da Aula

Emílio [email protected] - Escola Superior de Artee Design de MatosinhosPortugal


pt

ETHICS AND DESIGN(IR)RESPONSI-BILITY OFDESIGNTHE ROLE OF EDUCATION FOR GOODDESIGN —RETHINKING THE DESIGN TOWARDS NEW CHALLENGES: FUTURE OFDESIGN SUS-TAINABILITYSOCIAL AND ENVIRONMEN-TAL RESPONSI-BILITY —


THEMES

53\In about two months’ time I will be celebrating my birthday, and I already

know how the gifts (just a few, and hopefully edible) from my family will be

wrapped. I am not a clairvoyant: for as long as I can remember, our presents

have been wrapped in the same reused wrapping paper from the last decade.

At my parents’ house, a huge box full of used wrapping paper stands next

to a huge box full of old matching ribbons, which are all used over and

again. There are also boxes full of used zippers and buttons, saved from

old clothes. I remember separating the buttons by colour and size. Even in

my childhood, I learned to use resources carefully and to avoid waste. To be

honest—sometimes I was annoyed at having to wear hand-me-downs from

siblings and cousins. I was annoyed that we ate potatoes, cabbage and apples

throughout the winter, because they grew on our farm and that’s what was in

season. Nevertheless, now I know that it is these tiny components (together

with many more examples from my upbringing) that paved the way to my

sustainable lifestyle.

This article focuses partly on the present day, but most of all on the

future, and how sustainable design has the capacity to influence our society

and environment. The world is in a state of change—again and again—and

so is design. Population growth, the movement to cities in what are seen as

richer and safer countries, inequalities, climate change, the lack of resources

(e.g. caused by linear economy and mass consumption): these factors are

all creating new challenges for design. Studies predict a doubling of the

population in 2050. By then, 70% of people in the world people will be living

in cities, and the number of megacities will increase (cf. Sachs 2018, p. 31). “(...)

Inequality in cities is on the rise; the problem of inequality is a fundamentally

urban one; and, in the long run, urban inequality threatens economic growth.

Although its precise causes and dynamics vary from city to city, inequality is

a major and growing problem in virtually all cities and metropolitan areas.”

(Florida 2017, pp. 81) This article is written from the perspective of a life

in industrialized countries. I am aware that the majority of people live in

\Design Strategiesthat Would Not Hurtand Make Life Better

Sigrid Bü[email protected] JoanneumUniversity of Applied SciencesGrazAustria

keymordssustainabilityeco designsocio designthemessocial designethics and designeducation for good design

underdeveloped and developing countries, dominated by poverty and wars.

Nevertheless, the content here focuses on the wealthy countries with a high

standard of living, the developed world. Because this is where we primarily

find the money, the knowledge, the technology and thus the responsibility

to make a difference. This power should be used to eliminate inequalities. “If

what must emerge is a new civilization, the issue is not only one of solving

problems; a civilization is also, and primarily, made up of values, of qualities,

an, in more general terms, of sense systems.” (Manzini 2015, p. 3)

The way we consume products and use resources, as well as the

economic model itself, is being called into question. Materialism is still the

dominant vision in post-industrial consumer societies, and yet the inequalities

around the world are leading to a radical change—in mind and in action.

Design must face the challenge of stopping environmental degradation and

raising humanitarian awareness. Executing a design project according to

social and sustainable guidelines should be essential, and should become

the norm. Specific, separate study programmes like Eco Design, Social Design

or even the extra elective subjects Social & Sustainable Design, such as I

teach, should not be continued. Instead, these themes should be appealing

enough to be intrinsic to all subjects, and fully integrated into all projects.

A good designer should always take society and environment into account

during their work. „Such a direction demands a reassessment of priorities,

a reconsideration of how ethical principles and deeper values can become

a more substantive aspect of design education and design practice, and a

consideration of what difference such principles and values might make to

design outcomes.“ (Walker 2017, p. 49) The world is transforming—and with

it, the role of the designer.

What designers can do

A designer must be a researcher, a team player, a storyteller, a visual

communicator, a socio-designer, and also a sustainable designer (cf.

Bürstmayr/Stocker 2020, pp. 11). Let’s start with some design initiatives from

the vibrant city of Detroit, which had an important impact on my thinking.

It showed me the power of creative communities, introduced me to many

inspiring and motivated people, and taught me the power of design to make

a city liveable again. A few decades ago, Detroit was the Motor City with

around two million inhabitants. Because the car industry was shifted away

to low-wage countries without any regard for employees and the economy,

the city went bankrupt in 2013. Two thirds of Detroit’s inhabitants left, which

led to about 78,000 houses being abandoned. The last few years, however,

have seen the emergence of many fantastic projects in public spaces, urban

agriculture, and numerous creative start-ups with a positive impact on the

city. Here are a few examples:

Out of necessity, one Detroit fashion designer (Empowerment Plan)

developed a coat for homeless people that can be transformed into a sleeping

bag. Among other materials, it is made out of otherwise unusable automotive

insulation. At the same time, its production provides employment and training

for homeless people. One group of designers (Thing Thing) collects and sorts

discarded plastic to produce 100% recycled products. Another young design

team (Woodward Throwbacks) salvages wooden boards reclaimed from the

abandoned houses in their neighbourhood. This waste material is their source

for producing new furniture and creating a business. Taking resources out of

the city instead of extracting raw material from mines, forests and the sea

is an important topic which should be mentioned in the context of a social

and sustainable way of living. Besides landfill mining, this urban mining is an

alternative way of obtaining resources so that they are not taken from nature.

en

55\54\

Resources are not endless, and some raw materials are already in short

supply. Cities contain supplies of leftover materials like electronic waste and

metals such as iron and copper, which can be found in buildings, under the

streets and also in every household. The main objectives of urban mining

are the conservation of resources and environmental protection, including,

of course, the generation of economic benefits. (cf. Ghosh 2020) Traditional

mining of raw materials is often associated with high financial expenses, long

transport routes from other countries and continents and, additionally, unfair

working conditions. So the use of the city as a supplier of raw materials is

essential for the future. It is not only the materials found in buildings, but also

those in vehicles, and any of the other products we already have, that can and

should be used again. To offer just one example: a study of materials in Vienna

claims that there are 4,500 kilos of iron, 340 kilos of aluminium, 210 kilos of

lead, 200 kilos of copper and 40 kilos of zinc hidden per person (cf. www.

smartcity.wien.gv.at). Vienna has 1.8 million inhabitants.

The topic of sustainability is, of course, not new in the field of design.

In the 1970s, Victor Papanek—an Austrian-American designer, teacher and

author—designed a radio made out of an old tin can. He developed a new

product from waste materials that was especially intended to improve life for

Africans. Design for the Real World, the book Papanek published as early as

five decades ago, is an unambiguous statement calling for the use of design

as a tool to improve the life of everyone. “Design must be an innovative, highly

creative, cross-disciplinary tool responsive to the needs of men. It must be

more research-oriented, and we must stop defiling the earth itself with

poorly-designed objects and structures.” (Papanek 2019, p. X) Furthermore,

at a time of mass production, Papanek noted that designers hold a great

deal of power, because everything is designed and has an influence on the

environment, society and on ourselves (cf. Papanek 2019, p. IX). “This demands

high social and moral responsibility from the designer.” (Papanek 2019, pp. IX)

As a protest against mass production and the consumer good

industry, in 1974 the Italian designer Enzo Mari published his first edition of

the book Autoprogettazione, which provides a number of plans for wooden

basic furniture. This is a series of easily assembled furniture made of raw solid

wooden boards and some nails. Years later, the refugee company Cucula of

Berlin received the rights to build and sell the furniture, with the intention that

five African refugees could stay and work in Germany (cf. www.cucula.org).

What consumers can do

For several years now, there have been clear indications of a shift in values

among certain segments of the population, on the consumer side. More and

more people value a lifestyle of health and sustainability, and are consumers

of organic and fair-trade products. Recent movements based on a fundamental

change in values include DIY, Slow Food, Zero Waste, Repair Cafés, Micro Housing

and the Sharing Economy—just some of the keywords that characterize a new

way of thinking. This demonstrates the enormous spectrum these movements

have now achieved, and supports the hope that they will endure, and are not

just a current trend. (cf. Bürstmayr/Stocker 2020, p. 10)

A recent study reports that, on average, a drill is only in use for 13

minutes in total. Yet more than 70% of American households own one (cf.

Welzer 2013, p. 94). Other current data shows that an average European

owns around 10,000 possessions. Do we really need all these products?

This is a pressing issue that is emerging as a result of the lack of resources

and immense waste problem. Currently there are numerous second-hand

shops, reuse centres, open shelves with books, clothes and food as well as

swapping parties that are trying to deal with this huge number of products.

But what is really needed is a significant shift in people’s mindsets and

values. Food, fashion, transportation, travel and e.g. leisure activities will

all change. Acceptance of these changes will show us new possibilities for

positive development (cf. Walker / Giard 2013, pp. 5). Not to mention the fact

that it is up to consumers to decide which products they need or want to buy.

This is now influencing the economy and forcing companies to rethink their

products—including the manufacturing process, the choice of materials, and

the ecological aspects (cf. Maats 2016).

Some of the products I own, such as a ladder, table-tennis rackets,

hammer, sewing machine, bicycle... I try to share. For example, I have

stickers (Pumpipumpe) on my mail box showing the products I can lend my

neighbours. I will extend this idea by adding services I can offer. Bringing

something back from the farmers’ market, or helping to carry furniture

when they move in. Why I am doing all of this? Both in order to build a better

community (comparable with rural neighbourhood assistance) and to prevent

consumption of products that are rarely used, so avoiding waste as far as

possible. In other words, because all of this has an influence on our health,

our environment, and our society as a whole. “We need millions of more

people who are committed to doing their part to embrace good ideas, find

new solutions in their own work, and live and share what they learn. Each of

us has a role to play, and each of us can be part of that movement to change

the world.” (Steffen 2008, p. 25)

What we should have been doing already

The inclusion of designers in the product development process should ideally

start right at the beginning and last through to the end of product life. This

encompasses the designer’s responsibility for an ecologically, economically

and socially acceptable material and manufacturing process. Often designers

act as a link connecting people from engineers to the target group. Sustainable

design solutions will require creativity to develop alternative processes and

to have a positive influence on the reduction of energy and resources (cf.

Walker/Giard 2013, pp. 5). “If people made products, tools, furniture, houses,

fabrics and cities smarter from the start, they wouldn’t even have to think

about things like waste, pollution or shortages. Good design would provide

abundance, eternal reuse and pleasure.” 1 (Braungart / McDonough 2013, p. 23,

trans. by the author) For the last 150 years, however, production has mainly

been concentrated on the linear system. This can be described as a take,

make, use and waste procedure (cf. Weetman 2016, pp. 2). We must reject and

prohibit this concept of linear design—where, broadly speaking, everything

is still produced for the waste bin; it is essential that this is replaced by the

circular economy. Although the concept of a circular economy has been

around since 1990, sadly most developments are still based on the linear

economy. The circular economy, a concept inspired by nature, is based on the

idea that all materials are used in the circle, and will never turn into waste.

On the one hand, there is the biological cycle, in which 100% of the

materials return to nature, for example in the form of compost. This can

give rise to new materials and new biodegradable products. (cf. Braungart/

McDonough 2008, p. 31) A manageable number of products are produced

according to the guidelines of the biological cycle. Biodegradable packaging

such as Ooho—water in edible pods (www.notpla.com), which replaced

200,000 plastic water bottles at the London Marathon in 2019—can

significantly reduce plastic waste. There are also fabrics made from organic

material like hemp, bast fibres, linen or modal, which are fully compostable

within several months (Freitag). Vegan leather made from plant sources like

banana leaves or pineapple peels (Piñatex) are used for shoe production.

1 “Wenn die Menschen

die Produkte, Werkzeuge,

Möbel, Häuser, Fabriken

und Städte von Anfang

an intelligenter gestalten

würden, müssten sie an

Dinge wie Verschwendung,

Verschmutzung oder

Mangel nicht einmal

denken. Gutes Design

würde für Überfluss, ewige

Wiederverwendung und

Vergnügen sorgen.”

57\56\

Biodegradable materials such as cork, eucalyptus board and latex glue can be

100% returned to nature. When it comes to books and other printed products,

general awareness of recycled paper or other alternative papers is quite high.

But apart from sustainable material procurement and printing production,

the quality of the ink is also not usually considered. Unfortunately, only 60%

of paper can be recycled, because only the cellulose is suitable for recycling.

The remaining 40% are colours and filler materials, which survive as toxic

mud. There are currently only three printing companies in Europe who offer

Cradle to Cradle Certified printed products. (cf. www.gugler.at)

On the other hand, there is the technical cycle, in which 100% of the

products are dismantled and the materials used again for new products. This

process requires high-quality, separable materials. At present, the common

packaging for milk and fruit juice consists of a composite material of paper,

plastic and aluminium, and is not made for reuse. Furniture, house insulation

and many more products consist of wood and plastic composites that involve

a great effort to separate and reuse. Furthermore, the combined materials

for the biological and technical cycle harm each other and can no longer be

reused in a completely pure form. (cf. Braungart/McDonough 2013, p. 29)

Luckily, we already design and produce products made of a single material,

or which can easily be disassembled for reuse of all the different materials

sorted by type.

Entire buildings can also be developed according to the biological

and the technical circular economy guidelines. For example, the city hall in

Venlo, the Netherlands. The building’s design focuses on the themes of people,

environment and economy. The green air-purifying façade protects against air

pollution. A greenhouse growing regional products also heats and humidifies

the air that enters the building. A filter recycles rain and waste water and the

whole building is energy neutral. The use of healthy and local materials was a

must; the building contains as many cycles as possible. (cf. www.kraaijvanger.

nl) If there is no use for a product, no chance to sell it second-hand, to share it,

repair it or clean it, then it should go back into the biological or technological

cycle. If the concept of circular design were applied to all fields, e.g. fashion,

products, transportation and buildings, it would get rid of all the waste, the

lack of resources, and give us a more sustainable life.

The circular economy also aims at a system of returning products

from the user back to the manufacturer. Products such as household

appliances, electronic devices and furniture could increasingly be offered

as services. This means that these products would be leased rather than

bought. There are considerable advantages on both sides—for the seller as

well as for the buyer. If the customer no longer needs the product, the seller

takes it back. The technical materials are reused, there is no waste and the

relationship between customer and seller is strengthened. (cf. Braungart/

McDonough 2013, pp. 151) Designing for a closed loop usually necessitates a

rethink of the whole concept. This means a radical rethink among suppliers,

remanufacturing and servicing of products and materials, and the creation

of a new cooperation across industry boundaries. (cf. Weetman 2016, p. 3) In

addition, the circular economy is preferable to the linear economy because it

is based on reuse, the sharing economy, and consequently resource-saving.

This tackles the shortage of resources, reduces pollution, and can be a source

of cost reductions, new sources of income and business. (cf. Jørgensen/

Pedersen 2018, p. 103)

Acting in a visionary way, now

Good—better design takes into account new developments for durable,

repairable and modular products made of separable materials. It is the

designer’s responsibility to create incentives for high product loyalty on the

part of customers as well as to use local resources, local production and

support fair working conditions. The meaningfulness of the product, the design

or the purchase must be examined. Every action, whether by the designer, the

producer, the reseller or the customer must be taken consciously, because it

has an impact on the environment and society. (cf. Designaustria 2019, pp. 4).

The designer’s role is widening because the product development

process must include a solution for continued use of the product, or a

continuing life of the material. Returning to a thought from the beginning of

this article—do we really need all these products? The growth society and

the consumer society shaped by the post-war period are still in existence.

There is an ongoing consumption of more and more, although we already have

everything. Worldwide conferences and numerous scientific data confirm

the theoretical know-how, but the action is missing. Every year we have

a new record for the most used resources. The goal should not be making

products better, but rather making and consuming fewer products. We need

a transformation of society, of culture—from a culture of more and more, to

a culture of less. To design elimination, to leave something out and reduce, is

goal-oriented design. (cf. Welzer 2013) The design approach is finding new

solutions by starting with the question of need, as well as questioning the

target. The solution could be a product, but maybe it would be better to

provide it as a new service, or even developing nothing. (cf. Sommer/Welzer

2014, pp. 114) “The designer’s role has changed from creating forms to

effecting social changes.” (Allard / Kasep 2019, p. 156)

Let’s not forget the 17 Sustainable Development Goals defined by

the United Nations in 2015 to transform our world. A worldwide agreement

for a better and more sustainable future. It deals with global issues like

poverty, inequality, climate change, environmental pollution, peace and

justice. The 17 goals have the mission to drive urgent change and are made to

leave no one behind—the aim is to achieve them all by 2030. (cf. www.un.org)

Progress is being made in some key areas and positive trends are emerging.

But there is still a very long way to go if we are to achieve all the objectives.

The time horizon of 2030 should in particular be a wake-up call for politics,

the economy, designers and consumers and finally lead to a quick rethink, and

above all to action. “The times of thoughtless design, which can only flourish

in times of thoughtless production and thoughtless consumption, are over.

We can no longer afford mindlessness.” (Rams, 1976)

Bibliography

Allard, José/Kasep, Graciela (2019): Design and Emergencies in the Latin American Context. In: Cornejo, Paulina/Scheuch, Kerstin: Unfolding. Education and Design for Social Innovation. Centro de Diseño y Communicación, S.C., p. 155–165.

Braungart, Michael/McDonough, William (2008): Die nächste industrielle Revolution. Die Cradle to Cradle-Community. Hamburg: Europäische Verlagsanstalt.

Braungart, Michael/McDonough, William (2013): Intelligente Verschwendung. The Upcycle: Auf dem Weg in eine neue Überflussgesellschaft. Munich: Oekom Verlag.

Bürstmayr, Sigrid/Stocker, Karl (2020): Designing Sustainable Cities. Manageable approaches to make urban spaces better. Basel: Birkhäuser.

Cucula, S27 – Kunst und Bildung: www.cucula.org/geschichte (accessed on 18/3/2020)

Designaustria, Institute of Design Research Vienna (2019): Qualitätsstandards für Circular Design. Gestaltungskriterien für eine nachhaltige Entwicklung.

Florida, Richard (2017): The New Urban Crisis. How Our Cities Are

58\

Increasing Inequality, Deepening Segregation, and Failing the Middle Class—and What We Can Do About It. London: Hachette UK.

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Jørgensen, Sveinung / Pedersen, Lars Jacob Tynes (2018): Restart. Sustainable Business Model Innovation. Berlin, Heidelberg: Springer.

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Maats, Christiaan (2016): How product design can change the world. TEDx University of Groningen Talk, www.youtube.com/watch?v=ZqeA_psKn2E (accessed 6/3/2020)

Manzini, Ezio (2015): Design, When Everybody Designs. An Introduction to Design for Social Innovation. Cambridge: MIT Press.

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Papanek, Victor (2019): Design for the Real World. London: Thames & Hudson.

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Sachs, Angeli (2018): Social Design. Partizipation und Empowerment. Museum für Gestaltung Zürich. Züricher Hochschule der Künste, Zürcher Fachhochschule: Lars Müller Publishers.

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Sommer, Bernd/Welzer, Harald (2014): Transformationsdesign. Wege in eine zukunftsfähige Moderne. Munich: Oekom Verlag.

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Walker, Stuart (2017): Design for Life. Creating Meaning in a Distracted World. New York: Routledge.

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Weetman, Catherine (2016): A Circular Economy Handbook for Business and Supply Chains: Repair, Remake, Redesign, Rethink. London: Kogan Page Publishers.

Welzer, Harald (2013): Transformationsdesign. Wie man in eine nachhaltige Moderne kommt (und wie nicht). Talk at GLOBArt Academy 2013,www.youtube.com/watch?v=HyWUS-dvfVg (accessed 6/3/2020)

Welzer, Harald (2013): Selbst denken. Eine Anleitung zum Widerstand. Frankfurt am Main: Fischer.

In etwa zwei Monaten werde ich meinen Geburtstag feiern und ich weiß be-

reits, wie die (wenigen und hoffentlich essbaren) Geschenke meiner Familie

eingepackt werden. Ich bin keine Hellseherin, aber solange ich mich erin-

nern kann, werden unsere Geschenke in dasselbe gebrauchte Geschenkpa-

pier aus dem letzten Jahrzehnt eingepackt. Im Haus meiner Eltern steht eine

Schachtel davon, neben einer vollen Schachtel alter Geschenkbänder, die

ebenso immer und immer wieder verwendet werden. Es gibt auch Kisten voll

mit gebrauchten Reißverschlüssen und Knöpfen, die aus alten Kleidern ent-

fernt wurden und darauf warten wieder verwendet zu werden. Ich erinnere

mich, dass ich die Knöpfe nach Farbe und Größe sortiert habe. Schon in mei-

ner Kindheit habe ich gelernt, mit Materialien sorgsam umzugehen und Ab-

fall zu vermeiden. Um ehrlich zu sein – manchmal störte es mich, dass ich die

überlieferte Kleidung meiner Geschwister und CousInen tragen musste. Es

wurde auch öfters langweilig, den ganzen Winter über vor allem Kartoffeln,

Kraut und Äpfel zu essen. Sie wuchsen auf unserem Hof und es war ihre Sai-

son. Aber jetzt weiß ich, dass es diese kleinen Handlungen (zusammen mit

vielen weiteren Beispielen aus meiner Kindheit) sind, die den Weg hin zu mei-

nem nachhaltigen Lebensstil deutlich geprägt haben.

Dieser Beitrag konzentriert sich zum Teil auf die Gegenwart, vor al-

lem aber auf die Zukunft und darauf wie nachhaltiges Design unsere Ge-

sellschaft und Umwelt beeinflusst. Die Welt ist – immer wieder – in einem

Zustand der Veränderung, ebenso das Design. Bevölkerungswachstum, die

Abwanderung in Städte reicher und sicherer geltender Länder, die Ungleich-

heiten, der Klimawandel und der Ressourcenmangel (verursacht u. a. durch

lineare Wirtschaft und Massenkonsum) führen auch zu neuen Herausforde-

rungen im Design. Studien sagen eine Verdoppelung der Bevölkerung im Jahr

2050 voraus. Bis dahin werden 70 % der Weltbevölkerung in Städten leben

und die Anzahl der Megastädte wird sich erhöhen (Vgl. Sachs 2018, S. 31).

„(...) Die Ungleichheit in den Städten nimmt zu; das Problem der Ungleichheit

ist ein grundlegend städtisches; und langfristig bedroht die städtische Un-

\Design Strategien,die nicht schadenund das Leben verbessern



gleichheit das Wirtschaftswachstum. Obwohl ihre genauen Ursachen und

ihre Dynamik von Stadt zu Stadt unterschiedlich sind, ist die Ungleichheit ein

großes und wachsendes Problem in praktisch allen Städten und Ballungs-

gebieten.“ 1 (Florida 2017, S. 81 f., Übers. d. Verf.) Dieser Beitrag ist aus der

Perspektive eines Lebens in den Industrieländern geschrieben. Ich bin mir be-

wusst, dass die Mehrheit der Menschen in Entwicklungsländern und unter-

entwickelten Ländern lebt, die von Armut und Kriegen beherrscht werden.

Dennoch konzentriert sich der Inhalt auf die wohlhabenden Länder mit ho-

hem Lebensstandard, die entwickelte Welt. Denn dort findet die Bündelung

von Geld, Wissen, Technologie vorrangig statt und hat somit die Verantwor-

tung etwas zu bewegen. Diese Macht sollte genutzt werden, um Ungleich-

heiten zu beseitigen. „Wenn eine neue Zivilisation entstehen muss, geht es

nicht nur um die Lösung von Problemen; eine Zivilisation besteht auch und

vor allem aus Werten, Qualitäten und allgemein gesagt, aus Gefühlssyste-

men.“ 2 (Manzini 2015, S. 3, Übers. d. Verf.)

Die Art und Weise, wie wir Produkte konsumieren und Ressourcen

nutzen, sowie das Wirtschaftsmodell selbst wird in Frage gestellt. Der Ma-

terialismus ist immer noch die vorherrschende Vision in den postindustriel-

len Konsumgesellschaften, und zugleich treiben die Ungleichheiten auf der

ganzen Welt einen radikalen Wandel voran – im Denken und Handeln. De-

sign muss sich der Herausforderung stellen, die Umweltzerstörung zu stop-

pen und das humanitäre Bewusstsein zu schärfen. Die Durchführung eines

Designprojekts, gemäß sozialer und nachhaltiger Richtlinien, sollte unver-

zichtbar sein und zur Norm werden. Spezifische, eigene Studiengänge wie

Ökodesign, Soziales Design oder auch zusätzliche Wahlfächer wie Soziales

und Nachhaltiges Design, wie ich es derzeit unterrichte, sollten nicht weiter

isoliert bleiben. Stattdessen werden diese Themen in alle Fächer und Pro-

jekte integriert. Gute GestalterInnen sollten bei ihrer Arbeit immer die Ge-

sellschaft und die Umwelt berücksichtigen. „Eine derartige Ausrichtung

erfordert eine Neubewertung der Prioritäten, ein Überdenken, wie ethische

Prinzipien und tiefere Werte zu einem substanzielleren Aspekt der Design-

ausbildung und Designpraxis werden können, und eine Überlegung, welchen

Unterschied solche Prinzipien und Werte für die Ergebnisse des Designs ma-

chen könnten.“ 3 (Walker 2017, S. 49, Übers. d. Verf.) Die Welt verändert sich –

und mit ihr die Rolle des Designs.

Was DesignerInnen tun können

DesignerInnen müssen auch WissenschaftlerInnen, Teamplayer, Geschich-

tenerzählerInnen, visuelle KommunikatorInnen, Sozio-DesignerInnen und

nachhaltige DesignerInnen sein (Vgl. Bürstmayr/Stocker 2020, S. 11). Begin-

nen wir in der pulsierenden Stadt Detroit, wo neue und lokale Designinitiati-

ven, meinen Horizont wesentlich erweitert haben. Sie zeigten mir die Kraft

von kreativen Gemeinschaften, verknüpften mich mit vielen inspirierenden

und motivierten Menschen und lehrten mich neue Zugänge im Design, die

eine Stadt wieder lebenswert machen können. Vor einigen Jahrzehnten war

Detroit die Motor City mit rund zwei Millionen EinwohnerInnen. Weil die Au-

toindustrie ohne Rücksicht auf die Beschäftigten und auf die Wirtschaft in

Niedriglohnländer verlagert wurde, ging daraufhin die Stadt 2013 in Konkurs.

Zwei Drittel der Bevölkerung von Detroit verließen die Stadt, was dazu führ-

te, dass etwa 78.000 Häuser leer standen. In den letzten Jahren sind jedoch

beeindruckende Projekte im öffentlichen Raum, eine florierende städtische

Landwirtschaft und zahlreiche kreative Start-ups entstanden, die einen po-

sitiven Einfluss auf die Stadt haben. Dazu ein paar Beispiele: Aus der Not he-

raus entwickelte eine Detroiter Modedesignerin (Empowerment Plan) einen

Mantel für Obdachlose, der sich in einen Schlafsack verwandeln lässt. Ne-

de

1 “(...) Inequality in

cities is on the rise; the

problem of inequality is

a fundamentally urban

one; and, in the long run,

urban inequality threatens

economic growth. Although

its precise causes and

dynamics vary from city to

city, inequality is a major

and growing problem

in virtually all cities and

metropolitan areas.”

2 “(...) the new continent

of sustainable civilization

that will emerge from

the transition. (...) If what

must emerge is a new

civilization, the issue is

not only one of solving

problems; a civilization is

also, and primarily, made

up of values, of qualities,

an, in more general terms,

of sense systems.”

3 Such a direction demands

a reassessment of

priorities, a reconsideration

of how ethical principles

and deeper values can

become a more substantive

aspect of design education

and design practice, and

a consideration of what

difference such principles

and values might make to

design outcomes.“

63\62\

ben anderen Materialien wird auch ansonsten unbrauchbare Autoisolierung

verwendet. Gleichzeitig bietet die Herstellung Beschäftigung und Ausbil-

dung für Obdachlose. Eine Gruppe von DesignerInnen (Thing Thing) sam-

melt und sortiert weggeworfene Kunststoffbehälter, um 100 % recycelte

Produkte herzustellen. Ein weiteres junges Designteam (Woodward Throw-

backs) sammelt Holzbretter aus den verlassenen Häusern in ihrer Nachbar-

schaft. Dieses Altmaterial ist ihre Quelle für die Produktion neuer Möbel und

die Gründung eines neuen Unternehmens. Die Entnahme von Ressourcen aus

der Stadt, anstatt der Gewinnung von Rohstoffen aus Minen, Wäldern und

dem Meer, ist ein wichtiges Thema, das im Zusammenhang mit einer sozia-

len und nachhaltigen Lebensweise erwähnt werden sollte. Neben dem De-

ponie-Abbau ist dieses Urban Mining (städtische Bergbau) eine Alternative,

um Ressourcen nicht aus der Natur zu gewinnen. Die Ressourcen sind nicht

endlos und einige Rohstoffe sind bereits knapp. Städte bergen Vorräte an Ab-

fallstoffen wie Elektronikschrott und Metalle wie Eisen und Kupfer, in Ge-

bäuden, unter den Straßen und auch in jedem Haushalt. Die wichtigsten Ziele

des städtischen Bergbaus sind die Erhaltung von Ressourcen und der Um-

weltschutz, einschließlich der Erzeugung von wirtschaftlichem Nutzen. (Vgl.

Ghosh 2020) Der konventionelle Rohstoffabbau ist oft mit hohen finanziellen

Aufwendungen, langen Transportwegen aus anderen Ländern und Kontinen-

ten und meist zusätzlich mit ungerechten Arbeitsbedingungen verbunden.

Daher ist die Nutzung der Stadt als Rohstofflieferant für die Zukunft un-

erlässlich. Nicht nur die Materialien in den Gebäuden, sondern auch jene in

Fahrzeugen und allen anderen Produkten, die bereits in Verwendung, können

und sollten wiederverwendet werden. Um nur ein Beispiel zu nennen: Eine

Studie über Wien zeigt auf, dass pro Person 4.500 Kilo Eisen, 340 Kilo Alumi-

nium, 210 Kilo Blei, 200 Kilo Kupfer und 40 Kilo Zink verborgen sind (Vgl. www.

smartcity.wien.gv.at). Wien hat eine Bevölkerung von 1,8 Millionen.

Das Thema Nachhaltigkeit in der Gestaltungsbranche ist natür-

lich nicht neu. In den 1970er Jahren entwarf Victor Papanek, ein österrei-

chisch-amerikanischer Designer, Lehrer und Autor, ein Radio aus einer alten

Blechdose. Er entwickelte ein neues Produkt aus Abfallstoffen, das vor allem

das Leben der afrikanischen Bevölkerung verbessern sollte. Design für die

reale Welt, das Buch, das Papanek bereits vor fünf Jahrzehnten veröffent-

lichte, ist ein eindeutiges Statement, Design als Werkzeug zur Verbesserung

des Lebens aller zu nutzen. „Design muss ein innovatives, höchst kreatives,

interdisziplinäres Werkzeug sein, das auf die Bedürfnisse der Menschen ein-

geht. Es muss stärker forschungsorientiert sein, und wir müssen aufhören,

die Erde selbst mit schlecht gestalteten Objekten und Strukturen zu ver-

schmutzen.“ 4 (Papanek 2019, S. X, Übers. d. Verf.) Darüber hinaus stellte Pa-

panek fest, dass GestalterInnen in der Zeit der Massenproduktion viel Macht

haben, weil alles gestaltet wird und einen Einfluss auf die Umwelt, die Ge-

sellschaft und auf einen selbst Auswirkung hat (Vgl. Papanek 2019, S. IX).

„Dies verlangt vom Designer eine hohe soziale und moralische Verantwor-

tung.“ 5 (Papanek 2019, S. IX f., Übers. d. Verf.)

Aus Protest gegen die Massenproduktion und die Konsumgüterin-

dustrie veröffentlichte der italienische Designer Enzo Mari 1974 seine erste

Ausgabe des Buches Autoprogettazione, das eine Reihe von Plänen für Ba-

sismöbel aus Holz enthält. Es handelt sich dabei um eine Reihe von leicht zu-

sammenbaubaren Möbeln aus rohen Massivholzplatten und einigen Nägeln.

Jahre später erhielt Cucula (Unternehmen von und für Flüchtlinge) aus Ber-

lin die Rechte zum Bau und Verkauf der Möbel, mit der Absicht, fünf afrika-

nischen Flüchtlingen Aufenthalt und Arbeit in Deutschland zu ermöglichen.

(Vgl. www.cucula.org).

Was KonsumentInnen tun können

Seit einigen Jahren gibt es deutliche Anzeichen für einen Wertewandel in be-

stimmten Bevölkerungsgruppen auf der KonsumentInnenseite. Immer mehr

Menschen legen Wert auf einen gesunden und nachhaltigen Lebensstil, sind

KäuferInnen von Bio- und Fair-Trade-Produkten. Jüngste Bewegungen, die

auf einem grundlegenden Wertewandel beruhen, sind DIY, Slow Food, Zero

Waste, Reparatur-Cafés, Micro Housing und die Sharing Economy. Dies zeigt,

welch enormes Spektrum diese Bewegungen inzwischen erreicht haben, in

der Hoffnung, dass sie bestehen bleiben und nicht nur ein aktueller Trend

sind. (Vgl. Bürstmayr/Stocker 2020, S. 10)

Eine Studie berichtet, dass eine Bohrmaschine in ihrem durch-

schnittlichen Leben nur 13 Minuten in Betrieb ist, aber mehr als 70 % der

amerikanischen Haushalte eine besitzen (Vgl. Welzer 2013, S. 94). Andere ak-

tuelle Daten zeigen, dass ein durchschnittlicher Europäer etwa 10.000 Ge-

genstände besitzt. Brauchen wir wirklich all diese Produkte? Das ist eine

dringende Frage, die sich aufgrund fehlender Ressourcen und des immen-

sen Abfallproblems stellt. Inzwischen gibt es zahlreiche Second-Hand Läden,

offene Regale mit Büchern, Kleidung und Lebensmitteln sowie Tauschbör-

sen, die versuchen, mit dieser großen Anzahl an Produkten umzugehen. Was

aber wirklich notwendig ist, ist ein deutlicher Wandel in den Denkweisen und

Werten der Menschen. Essen, Mode, Transport, Reisen und z. B. Freizeitakti-

vitäten werden sich ändern. Die Akzeptanz dieser Veränderungen wird uns

neue Möglichkeiten für eine positive Entwicklung aufzeigen (Vgl. Walker/

Giard 2013, S. 5 ff.). Nicht vergessen werden darf, dass es den Konsumen-

tInnen überlassen bleibt, welche Produkte sie benötigen und kaufen. Ihr Ver-

halten beeinflusst die Wirtschaft und zwingt die Unternehmen, ihre Produkte

zu überdenken, einschließlich des Herstellungsprozesses, der Materialwahl

und der ökologischen Aspekte (Vgl. Maats 2016).

Einige der Produkte, die ich besitze, wie z. B. eine Leiter, Tischtennis-

schläger, Hammer, Nähmaschine oder Fahrrad versuche ich zu teilen. Dazu

befinden sind Aufkleber (Verein Pumpipumpe) auf meinem Briefkasten, die

meiner Nachbarschaft zeigen, welche Produkte ich ihnen leihen kann. Diese

Idee werde ich noch um unentgeltliche Dienstleistungen wie Einkäufe vom

Bauernmarkt mitbringen oder beim Einzug helfen, erweitern. Warum ich das

alles tue? Zum einen für eine bessere Gemeinschaft (vergleichbar mit ländli-

cher Nachbarschaftshilfe) und zum anderen, um den Konsum von Produkten

zu vermeiden, die nur selten benutzt werden, um so möglichst wenig Ab-

fall zu generieren. Mit anderen Worten, weil all dies einen Einfluss auf unse-

re Gesundheit, unsere Umwelt und unsere Gesellschaft als Ganzes hat. „Wir

brauchen Millionen von Menschen, die sich dafür einsetzen, ihren Teil dazu

beizutragen, gute Ideen anzunehmen, neue Lösungen in ihrer eigenen Arbeit

zu finden und das, was sie lernen, zu leben und zu teilen. Jeder von uns hat

eine Rolle zu spielen, und jeder von uns kann Teil dieser Bewegung zur Verän-

derung der Welt sein.“ 6 (Steffen 2008, S. 25, Übers. d. Verf.)

Was schon längst überfällig ist

Die Einbeziehung von DesignerInnen in den Produktentwicklungsprozess

sollte im besten Fall vom Anfang bis zum Ende des Produktlebens erfolgen.

Dies umfasst die Verantwortung des Designs für ein ökologisch, ökonomisch

und sozial verträgliches Material und Herstellungsverfahren. Häufig beglei-

ten DesignerInnen den gesamten Prozess und sind im ständigen Austausch

mit den TechnikerInnen bis hin zur Zielgruppe. Nachhaltige Designlösungen

erfordern Kreativität, um alternative Prozesse zu entwickeln und Energie-

und Ressourcenreduktion positiv zu beeinflussen (Vgl. Walker/Giard 2013, S.

5 ff.). Wenn die Menschen die Produkte, Werkzeuge, Möbel, Häuser, Fabri-

6 “We need millions of

more people who are

committed to doing their

part to embrace good

ideas, find new solutions

in their own work, and live

and share what they learn.

Each of us has a role to

play, and each of us can be

part of that movement to

change the world.”

4 “Design must be an

innovative, highly creative,

cross-disciplinary tool

responsive to the needs

of men. It must be more

research-oriented, and

we must stop defiling the

earth itself with poorly-

designed objects and

structures.”5 “This demands high social

and moral responsibility

from the designer.”

65\64\

ken und Städte von Anfang an intelligenter gestalten würden, müssten sie an

Dinge wie Verschwendung, Verschmutzung oder Mangel nicht einmal denken.

Gutes Design würde für Überfluss, ewige Wiederverwendung und Vergnügen

sorgen. (Braungart/McDonough 2013, S. 23). In den letzten 150 Jahren hat

sich die Produktion jedoch hauptsächlich auf das lineare System konzent-

riert. Dieses kann als Take-, Make-, Use- und Waste-Verfahren beschrieben

werden (Vgl. Weetman 2016, S. 2 f.). Dieses Konzept der linearen Wirtschaft,

bei dem im Großen und Ganzen alles für die Abfalltonne produziert wird –

soll abgelehnt, sogar verboten – und durch die Kreislaufwirtschaft ersetzt

werden. Obwohl das Konzept der Kreislaufwirtschaft seit 1990 bekannt ist,

basieren die meisten Entwicklungen tatsächlich immer noch auf dem linea-

ren System. Die Kreislaufwirtschaft, ein von der Natur inspiriertes Konzept,

basiert auf der Idee, dass alle Materialien im Kreislauf verwendbar sind und

niemals zu Abfall werden.

Zum einen gibt es den biologischen Kreislauf, in dem die Materialien

zu 100 % in die Natur zurückkehren, zum Beispiel in Form von Kompost. Da-

durch können neue Materialien und neue biologisch abbaubare Produkte ent-

stehen. (Vgl. Braungart/McDonough 2008, S. 31) Eine überschaubare Anzahl

von Produkten wird mittlerweile nach den Richtlinien des biologischen Kreis-

laufs hergestellt. Biologisch abbaubare Verpackungen wie Ooho – Wasser in

essbarer Verpackung (www.notpla.com), die 2019 beim Londoner Marathon

200.000 Kunststoff-Wasserflaschen ersetzten, können den Verpackungsmüll

deutlich reduzieren. Es gibt auch Textilien aus organischen Materialien wie

Hanf, Bastfaser, Leinen oder Modal, die innerhalb weniger Monate vollstän-

dig kompostierbar sind (Freitag). Veganes Leder aus pflanzlicher Herkunft wie

Bananenblätter oder Ananasschalen (Piñatex) werden für die Schuhproduk-

tion verwendet. Unter Einbindung biologisch abbaubarer Materialien wie Kork,

Eukalyptuskarton und Latexkleber gibt es Schuhe, die zu 100 % der Natur zu-

rückgegeben werden können. Wenn es um Bücher und andere Druckerzeug-

nisse geht, ist das allgemeine Bewusstsein für Recyclingpapier oder andere

alternative Papiere durchaus hoch. Doch neben der nachhaltigen Material-

beschaffung und der Druckproduktion wird auch die Qualität der Druckfarbe

meist nicht berücksichtigt. Tatsächlich können nur 60 % des Papiers recycelt

werden, da nur der Zellstoff für die Wiederverwertung geeignet ist. Die rest-

lichen 40 %, sind Farben und Füllstoffe, die als giftiger Schlamm zurückblei-

ben. Derzeit bieten nur drei Druckereien in Europa zertifizierte Druckprodukte

(Cradle to Cradle) an. (Vgl. www.gugler.at)

Zum anderen gibt es den technischen Kreislauf, bei dem 100 % der

Produkte zerlegt und die einzelnen Materialien für neue Produkte verwendet

werden. Dieser Prozess erfordert qualitativ hochwertige und trennbare Ma-

terialien. Die derzeit üblichen Verpackungen für Milch und Fruchtsäfte, be-

stehend aus einem Verbundmaterial aus Papier, Kunststoff und Aluminium,

sind nicht für eine Wiederverwertung geeignet. Möbel, Hausisolierungen etc.

bestehen oft aus Holz- und Kunststoffverbundmaterialien, die ebenfalls nur

mit großem Aufwand getrennt und wiederverwendet werden können. Zudem

schädigen Materialkombinationen meist der Qualität der einzelnen Rohstof-

fe, weil diese danach oft nicht mehr vollkommen rein sind und somit nicht

für den biologischen und technischen Kreislauf geeignet sind. (Vgl. Braun-

gart/McDonough 2013, S. 29) Erfreulicherweise werden auch Produkte aus

einem einzigen Material oder solche, die sich leicht sortenrein zerlegen lassen,

entworfen und produziert. Ganze Gebäude können nach den biologischen und

technischen Richtlinien der Kreislaufwirtschaft entwickelt werden. Zum Bei-

spiel das Rathaus in Venlo, Niederlande. Der Entwurf des Gebäudes konzent-

riert sich auf die Themen Mensch, Umwelt und Wirtschaft. Die grüne Fassade

bietet Schutz vor Luftverschmutzung im Gebäude. Ein Gewächshaus für den

Anbau regionaler Produkte erwärmt und befeuchtet zudem die Luft, die in das

Gebäude eintritt. Ein Filter bereitet Regen- und Abwasser auf und das gesam-

te Bauwerk ist energieneutral. Die Verwendung von gesunden und lokalen

Materialien war ein Muss. Generell enthält das Gebäude so viele Kreisläufe

wie nur möglich. (Vgl. www.kraaijvanger.nl) Gibt es keine Verwendung mehr

für ein Produkt, keine Möglichkeit es weiter zu verkaufen, zu teilen, zu repa-

rieren oder zu reinigen, dann sollte es wieder in den biologischen oder techno-

logischen Kreislauf zurückkehren. Wenn das Konzept der Kreislaufwirtschaft

auf alle Bereiche, wie z. B. Mode, Produkte, Transport und Gebäude angewen-

det wird, würde es den gesamten Abfall, den Mangel an Ressourcen beseiti-

gen und uns ein nachhaltigeres Leben ermöglichen.

Die Kreislaufwirtschaft zielt auch auf ein System zur Rückgabe von

Produkten ab. Produkte wie Haushaltsgeräte, elektronische Geräte und Mö-

bel könnten vermehrt als Dienstleistungen angeboten werden. Das bedeu-

tet, dass diese Produkte eher geleast als gekauft werden. Es ergeben sich

für beide Seiten erhebliche Vorteile, sowohl für die VerkäuferInnen als auch

für die KäuferInnen. Wenn die Kundschaft das Produkt nicht mehr benötigt,

nimmt es die Verkaufsstelle zurück. Die technischen Materialien werden wie-

derverwendet, es entsteht kein Abfall und die Beziehung zwischen KäuferIn-

nen und VerkäuferInnen wird gestärkt. (Vgl. Braungart / McDonough 2013, S.

151 ff.) Design für einen geschlossenen Kreislauf erfordert ein Überdenken

des gesamten Konzepts. Dies bedeutet ein radikales Umdenken bei den Liefe-

ranten, der Wiederaufbereitung und Wartung von Produkten und Materialien

sowie die Bildung neuer Kooperationen über Branchengrenzen hinweg. (Vgl.

Weetman 2016, S. 3) Darüber hinaus ist die Kreislaufwirtschaft der linearen

Wirtschaft vorzuziehen, weil sie auf Wiederverwendung, dem Leasingsys-

tem und der damit verbundenen Ressourcenschonung beruht. Sie bekämpft

die Knappheit an Ressourcen, reduziert die Umweltverschmutzung und kann

Auswirkungen auf eine Kostensenkung, neue Einkommensquellen und Ge-

schäftsfelder haben. (Vgl. Jørgensen/Pedersen 2018, S. 103)

Visionär agieren, jetzt

Gutes – besseres Design berücksichtigt die Entwicklungen für langlebige, re-

parierbare und modulare Produkte aus trennbaren Materialien. Es liegt in der

Verantwortung der DesignerInnen, Anreize für eine hohe Produkttreue der

Kundschaft zu schaffen, lokale Ressourcen und lokale Produktion zu fördern

sowie faire Arbeitsbedingungen zu unterstützen. Die Sinnhaftigkeit des Pro-

dukts, des Designs oder des Kaufs muss in Frage gestellt werden. Jede Hand-

lung, sei es in der Gestaltung, in der Herstellung, im Verkauf oder dem Kauf,

muss bewusst erfolgen, da sie Auswirkung auf die Umwelt und die Gesell-

schaft hat. (Vgl. Designaustria 2019, S. 4 ff.).

Die Rolle von DesignerInnen wird dadurch erweitert, dass der Pro-

duktentwicklungsprozess eine Lösung für die weitere Nutzung des Pro-

dukts bzw. den Fortbestand des Materials beinhalten muss. Um auf eine

bereits erwähnte Fragestellung am Anfang dieses Artikels zurückzukommen:

Brauchen wir wirklich alle diese Produkte? Die Wachstums- und Konsumge-

sellschaft der Nachkriegszeit ist noch immer existent. Es gibt einen anhal-

tenden hohen Konsum, obwohl wir alles haben. Weltweite Konferenzen und

zahlreiche wissenschaftliche Daten belegen das theoretische Wissen, aber es

fehlen die Handlungen. Jedes Jahr haben wir einen neuen Rekord für die am

meisten verbrauchten Ressourcen. Das Ziel sollte nicht ausschließlich dar-

in bestehen, Produkte besser zu machen, sondern vorrangig sollten weniger

Produkte hergestellt und verbraucht werden. Wir brauchen eine Transforma-

tion der Gesellschaft und der Kultur – von einer Kultur des Mehr und Mehr zu

einer Kultur des Weniger. Die Reduktion zu gestalten, etwas wegzulassen und

zu reduzieren, ist die zielführende Gestaltung. (Vgl. Welzer 2013) Der Gestal-

67\66\

tungsansatz findet neue Lösungen, indem er sowohl von der Frage des Be-

darfs als auch von der Frage des Ziels ausgeht. Die Lösung könnte ein Produkt

sein, aber vielleicht wäre es besser, es als neue Dienstleistung anzubieten

oder auch gar nichts zu entwickeln. (Vgl. Sommer/Welzer 2014, S. 114) „Die

Rolle des Designers hat sich von der Schaffung von Formen zur Beeinflussung

gesellschaftlicher Veränderungen gewandelt“. (Allard/Kasep 2019, S. 156)

Vergessen wir nicht die 17 Ziele für eine nachhaltige Entwicklung, die

die Vereinten Nationen 2015 festgelegt haben, um die Welt zu verbessern: ein

weltweites Abkommen für eine bessere und nachhaltigere Zukunft. Es be-

fasst sich u. a. mit den globalen Themen wie Armut, Ungleichheit, Klimawan-

del, Umweltverschmutzung, Frieden und Gerechtigkeit. Die 17 Ziele haben

den Auftrag, dringende Veränderungen voranzutreiben und sollen nieman-

den zurücklassen. 2030 sollen diese Ziele erreicht sein. (Vgl. www.un.org) In

einigen Schlüsselbereichen werden Fortschritte erzielt, und es zeichnen sich

positive Trends ab. Aber es ist noch ein sehr langer Weg, um all diese Ziele

zu erreichen. Vor allem der definierte Zeithorizont 2030 sollte ein Weckruf

für Politik, Wirtschaft, Design und für den Konsum sein, um schließlich zu ei-

nem raschen Umdenken, aber vor allem zum Handeln zu führen. „Die Zeiten

gedankenloser Gestaltung, die nur in Zeiten gedankenloser Produktion und

gedankenlosen Konsums gedeihen kann, sind vorbei. Wir können uns keine

Gedankenlosigkeit mehr leisten.“ (Rams, 1976)

Literaturverzeichnis

Allard, José/Kasep, Graciela (2019): Design and Emergencies in the Latin American Context. In: Cornejo, Paulina / Scheuch, Kerstin: Unfolding. Education and Design for Social Innovation Centro de Diseño y Communicación, S.C., S. 155–165.

Braungart, Michael/McDonough, William (2008): Die nächste industrielle Revolution. Die Cradle to Cradle Community. Hamburg: Europäische Verlagsanstalt.

Braungart, Michael/McDonough, William (2013): Intelligente Verschwendung. The Upcycle: Auf dem Weg in eine neue Überflussgesellschaft. München: Oekom Verlag.

Bürstmayr, Sigrid/Stocker, Karl (2020): Designing Sustainable Cities. Manageable approaches to make urban spaces better. Basel: Birkhäuser.

Cucula, S27 – Kunst und Bildung: www.cucula.org/geschichte (Stand: 18/3/2020)

Designaustria, Institute of Design Research Vienna (2019): Qualitätsstandards für Circular Design. Gestaltungskriterien für eine nachhaltige Entwicklung.

Florida, Richard (2017): The New Urban Crisis. How Our Cities Are Increasing Inequality, Deepening Segregation, and Failing the Middle Class—and What We Can Do About It. London: Hachette UK.

Ghosh, Sadhan Kumar (2020): Urban Mining and Sustainable Waste Management. Springer: Singapore.

Gugler Gmbh: www.gugler.at/print/nachhaltigkeit/cradle-to-cradle-certifiedtm-druckprodukte-innovation-aus-oesterreich.html (Stand: 30/3/2020)

Jørgensen, Sveinung / Pedersen, Lars Jacob Tynes (2018): Restart. Sustainable Business Model Innovation. Berlin, Heidelberg: Springer.

Kraaijvanger: www.kraaijvanger.nl/en/projects/city-hall-venlo (Stand: 1/4/2020)

Maats, Christiaan (2016): How product design can change the world. TEDx University of Groningen Talk, www.youtube.com/watch?v=ZqeA_psKn2E (Stand: 6/3/2020)

Manzini, Ezio (2015): Design, When Everybody Designs. An Introduction to Design for Social Innovation. Cambridge: MIT Press.

Notpla Limited: www.notpla.com (Stand: 1/4/2020)

Sigrid Bürstmayr: Design Strategien, die nicht schaden und das Leben verbessern 8

Papanek, Victor (2019): Design for the Real World. London: Thames & Hudson.

Rams, Dieter (1976): Vortrag in New York, www.vitsoe.com/de/voice/design-by-vitsoe (Stand: 1/4/2020)

Sachs, Angeli (2018): Social Design. Partizipation und Empowerment. Museum für Gestaltung Zürich. Züricher Hochschule der Künste, Zürcher Fachhochschule: Lars Müller Publishers.

Steffen, Alex / Gore, Albert (2008): Worldchanging. A User’s Guide for the 21st Century. New York: Abrams.

Smart City Wien: www.smartcity.wien.gv.at/site/urban-mining (Stand: 6/3/2020)

Sommer, Bernd / Welzer, Harald (2014): Transformationsdesign. Wege in eine zukunftsfähige Moderne. München: Oekom Verlag.

Sustainable Development Goals (2015): www.un.org/sustainabledevelopment/sustainable-development-goals (Stand: 1/4/2020)

Walker, Stuart (2017): Design for Life. Creating Meaning in a Distracted World. New York: Routledge.

Walker, Stuart / Giard, Jacques (2013): The Handbook of Design for Sustainability. London, New York: A&C Black.

Weetman, Catherine (2016): A Circular Economy Handbook for Business and Supply Chains: Repair, Remake, Redesign, Rethink. London: Kogan Page Publishers.

Welzer, Harald (2013): Transformationsdesign. Wie man in eine nachhaltige Moderne kommt (und wie nicht). Vortrag bei GLOBArt Academy 2013, www.youtube.com/watch?v=HyWUS-dvfVg (Stand: 6/3/2020)

Welzer, Harald (2013): Selbst denken. Eine Anleitung zum Widerstand. Frankfurt am Main: Fischer.

69\Design is always closely linked to processes of societal change. Due to social

transformation, our views on design and our definitions also change.

The ongoing changes in our professional field open up the

definition of design for new perspectives. The new (and old) recognition

that design can do more than just structure and visualize content in a

service-oriented manner (visual communication) — together with the

democratization of the means of production, which have become very

powerful communication tools in the age of social media — give designers

considerably simpler and greater opportunities. With independently

developed projects, they can actively participate in processes of societal

change and thus create GOOD DESIGN.

Society determines how design is perceived or defined, what design

can achieve (or to what extent it is allowed to actively intervene) and what

role and importance it should have. In his book, Florian Pfeffer describes

“the new role of design in a changing world” and states: “It does not matter

whether we believe that design can change the world or not. The world

changes design — with or without us.” 1

The Changing Understanding of Design

Currently, it seems that designers are more trusted than they were in the

past. And I must say that this trust, until digitalization — which ushers in

a global understanding of design — was still very much country-specific.

Whereas in the Netherlands, for example, design (and graphic design

in particular) had a very high status in society and was understood as an

artform in its own right, 2 the understanding of design in Germany was

mainly related to providing services, fulfilling orders with narrow limitations.

Sometimes it involved too little self-confidence with regard to the ability to

act autonomously, e.g. by realizing independent projects. This circumstance

always irritated me, because an important potentiality was being overlooked.

\The Role of Educationfor Good Design

Ulrike Brü[email protected] of Applied Sciencesand Arts, DortmundGermany

keymordsdesigndesign methodologiesgood designthemesethics and design(ir)responsibility of designthe role of education for good design

So if just a few years ago people were angrily asking why designers in

Germany are not (anymore) political and do not get involved, 3 this was due,

in my opinion, to the fact that acting autonomously and having a say as a

designer was not well accepted and, so to speak, represented a blind spot. In

short: These capacities were not taught, either. Instead the focus was placed

on creative practice as a service.

These newly or rediscovered potentials of design, the dissolution of

territories and narrow definitions, produce a great new creative space and

offer a very ambitious kind of freedom, but one that must first be mastered.

Design has become process-oriented and participatory. Designers are

increasingly becoming design strategists who develop processes and projects

that not only play into all genres of media, but must also be able to generate

a new medium for a particular purpose, or to develop projects without

content, media, or formal requirements. They become inventors, rethinking

what is possible. Designers are compelled to walk through the streets with

eyes wide open. They have the possibility to actively participate in processes

of change and reconciliation, and to self-confidently initiate them. This also

gives designers the chance to create their own individual field of work. Florian

Pfeffer describes a multitude of different possibilities and examples that

show which new roles might emerge. These demands also call for a certain

type of training in which students are not only given the appropriate tools,

but also an awareness of the new role of design in our society.

On the pages below, I would like to present my teaching method,

sharing some examples that attempt to integrate these different demands.

Teaching Method and Approach

In the 90s I studied at the Gerrit Rietveld Academie in Amsterdam. My design

studies were concept-oriented and artistic in character. Emphasis was

placed on dealing with the content of a respective topic. The focus was on an

open-ended and conceptual development process, which had neither media

nor formal requirements, as the most important basis for any design project.

This is an artistic method of development that originates in the very essence

of the topic.

For me, conceptualization means reflecting on the topic. But it is

also a process of self-reflection, because every person carries his or her own

embodied metaphors. This process can therefore result in fundamentally

different projects about one topic, created with a wide variety media. Reflection

opens the doors of perception, changes perspectives, and forms insight.

What does this approach look like in particular? I examine and

analyze the topic and identify its characteristics. What underlies the topic,

what are its main features or components? I do research, develop mind

maps, sketch out ideas, and gather key points. (Depending on the topic,

this process can take place alone or with external participation, e.g. of a

target group.) I work on a visual and structural translation from these

reduced components, thereby applying an analytical method coupled with

free association. I create metaphors by means of thematically appropriate

transference, which can be visual, scenographic or audiographic, etc. With

these I create references, i.e. determine creative and media-based codes

that lead me back to the content. That is how I develop my design language.

Throughout the process, relations are constantly questioned and developed

further in conversations and group discussions.

This approach, at first detached from any medium, enables the

targeted development of individual design solutions as well as interdisciplinary

work, and helps the designer to take a position of their own. Every formal

3 “Die vergessene

Dreifaltigkeit,” Facebook,

https://www.facebook.

com/designcritics.org.

en

1 Florian Pfeffer, To Do: Die

neue Rolle der Gestaltung

in einer veränderten Welt

(Mainz: Verlag Hermann

Schmidt, 2014). 2 In the Netherlands,

design was understood

as an intrinsically open

activity that was

friendly to experimentation

and open for artistic

research. This allowed it

to act more confidently

and autonomously.

71\70\

decision is motivated by content. The concept determines the stylistic means

and thus leads to experimentation. This also allows the very limits of design

to be explored.

Through experimentation, design’s scope of action can be expanded,

in turn enabling innovation.

In design theory, I see this creative process located in the following

methods: analysis, projection, and synthesis, as described by Wolfgang

Jonas and based on the Research by Design approach as described by Alain

Findeli. My teaching serves as a connecting element between different

areas of design. First of all, it is about the acquisition of an interdisciplinary

understanding of design. This does not mean mastering the language of every

medium. It means knowing the method to decode the language of the media.

The assignments are limited to purely thematic issues without formal

or media requirements. The re-quirements themselves only supply the topic.

It is therefore part of the task of the students to work out the requirements

from engaging with the topic. From the very beginning, they learn to work au-

tonomously and reflectively. I believe that autonomous project development

and the generation of corresponding approaches must be trained from the

outset of studies. By linking the described ap-proach with socially relevant

topics or problems, students are sensitized to the perception and reflection

of their environment, and they learn to recognize and analyze such topics

themselves and to develop corresponding projects.

This method establishes a robust toolbox, independent from current

solutions, which will remain useful in the future. Within the framework of

a research-based and experimental design practice, it enables designers

to methodically analyze processes of change, various topics, and differing

problems. It also enables them to initiate, conceive, and implement

corresponding practical design projects and discourses.

By GOOD DESIGN I refer not only to environmentally friendly objects,

but also to process-oriented, primarily open-ended projects that can build a

bridge to a better understanding of certain societal problems. Perhaps they

also contribute to greater social acceptance and to the resolution of said

societal problems. This kind of GOOD DESIGN can have a positive influence on

people’s behavior.

Learning Objectives of the MethodThe learning objectives of the presented method can be:

• Obtaining an analytical understanding of design

• Research into context and coincidences

• Process-oriented, open-ended, and media-independent works with

an ability for experimentation

• Transference of the stylistic means determined by the concept to the

corres-ponding medium

• Raising awareness of the close connection between design and

society and, in conjunction with this, developing an awareness of the

responsibility and, above all, the possibilities that designers have today

• Autonomous project development in relation to current socially

relevant topics

Seminars and Project Examples

In the following I would like to describe three different seminars and briefly

present selected projects that emerged from them.

SEMINAR 1 — Open Space - Zeitz

Seminar, excursion and workshop: Open Space – Zeitz

Direction: Prof. Ulrike Brückner, Prof. Nora Fuchs

2nd semester, KD and Objekt & Raum

Description

Zeitz is a town in the Burgenlandkreis district of Saxony-Anhalt, about 30

minutes away from Leipzig. This town has been in existence for about 1050

years, and traces of all those past epochs are still visible in its architecture.

Because a particularly large number of Martin Luther’s descendants lived

and still live in this region, Zeitz has been the headquarters of the Lutherid

Association since 2001. That is why the town calls itself the “town of Luther’s

descendants” on its town sign. In GDR times, baby strollers were produced

here; candies came from Zetti, a production plant in Zeitz; there was a steel

mill, a chocolate factory, and much more. After reunification, local industry

almost disappeared. Many once beautiful houses and factories are now empty

or in ruins. Part of the historic center had to be torn down in the 90s, but some

buildings have been renovated in the meantime, such as the Moritzburg

palace. Nevertheless — the emptiness remains tangible and visible. Every

place has its own atmosphere, its own characteristics that make it special. In

Zeitz the past is present, but the future is not yet recognizable, because the

town finds itself in an interim period. This emptiness and indeterminacy can

be positively evaluated and experienced: It offers ample space for new ideas

and possibilities.

Due to high unemployment in the region, the population of Zeitz is

dwindling. Once there were about 60,000 inhabitants, now there are only

about 30,000. Dissatisfaction, frustration, and a feeling of standstill are

becoming widespread among the population. Xenophobia is part of everyday

life here. In Zeitz 38 percent of the residents vote for the AfD (a xenophobic,

right-wing extremist party).

Assignment

This seminar is concerned with the development of communication strategies

with the residents of Zeitz. The requirement here is to involve the population

interactively in the projects.

For Zeitz, projects will be developed (for specific problems) which

can be realized within one week. The topic and the medium can be freely

chosen. The work can be a description of the town or a doc-umentation of a

certain serious shortcoming in the town. Topics might be, for instance: future

expec-tations, places of remembrance, younger generations, vacancies, the

pessimism of those left behind, xenophobia, etc.

This may result in booklets, photos, posters, films, web applications,

objects, spatial stagings, or even temporary interventions and intermediate

uses. The seminar takes place in cooperation with a semi-nar of the same

name by Nora Fuchs (Objekt & Raum). Projects can be worked on in groups

(two to four students) or individually.

The seminars emphasize content-based confrontation with the

respective topic. Students learn inde-pendently to develop process-oriented

and open-ended projects, to sensitize their perception of so-cial topics and

problems and to train a conceptual approach to design tasks. Particularly,

the semi-nars link communication design with space, object, and interaction.

We will explore the potentials of design in an experimental way.

73\72\

Point of Departure

The seminar served to prepare for the one-week excursion to Zeitz and the

workshop. The participants of the seminar stayed in the Prosa monastery

dating from the 11th century. A vacant old public library in the middle of the

town served as a workplace and exhibition space. The seminar participants

brought a mobile letterpress workshop, scanner, and printer with them.

In the seminar, Zeitz was first researched. Students filtered out

problems, characteristics, and features of the place. They could come

together in working groups or develop projects on their own. From this

research and analysis process, students were asked to find a topic around

which they wanted to develop a project. These projects were conceived

and developed as extensively as possible in prepara-tion for the one-week

workshop, during which the projects would be realized.

Selection of Resulting Projects

Project 1: 95 Zeitz ThesesInstallation and interactive intervention in public space

Book by Oliver Kaufhold

http://sugarscroll.de/all/events zeitzer-tueren-buch-von-sabrina-wiese/

Description

Zeitz is the city of the Lutherids. Most of Luther’s descendants live here. The

project reminds us of Luther’s 95 theses, which he nailed to the church door

in Wittenberg, thus triggering the great Protestant Reformation. In Zeitz, the

residents could now nail their own theses about Zeitz to the door. These

included, for example, wishes for change and criticism with regard to the city

of Zeitz and life in it. Three old doors were leaned against the outer wall of

the town church, representing the door to which Luther had nailed his theses,

so that all the residents of the town could read them.

The people of the town were able to take an empty page of thesis

paper at the project’s information stand, fill it in, and attach it to the church

door with hammer and nail. Examples of Zeitz theses: revitalize the city

center, future-oriented, youthful city administration, sports promotion for

children and teenagers, lacking business incubator, etc.

The project was moved to the library for the opening of the exhibition,

where visitors could also ham-mer their Zeitz theses to the doors.

The collected Zeitz theses were then compiled in a book, which was

given to the mayor and the town’s tourist information office. Indeed, these

theses are also a description of the town, from the point of view of the residents.

The handing over of the theses to the mayor was rather a symbolic act with

the aim of generating attention for the residents and their difficulties, and of

bringing the government and the population a little closer together. At the very

least, the project had a relieving effect on the residents, who felt a sense of

recognition and in fact communicated with each other through the project.

Project 2: Nächstenliebe (Brotherly Love)Interactive intervention in public space

Project idea by Jasmin Keune-Galeski


Description

Jasmin built a box, a small enclosed space with two openings for two heads.

Two people place this box over their heads. The distance between the heads

amounts to roughly 20 cm. When two people put this box on, they look

directly at one another and become extremely focused on each other through

the enclosed, narrow space. It is a “relationship box”.

How long can one endure this “relationship box” with a friend or

stranger, separated by only 20 cm? The project Nächstenliebe (Brotherly Love)

deals with the feelings of closeness and distance. Jasmin walked through

Zeitz and asked residents to get together under the box for as long as they

could stand it. When two people dared to enter the box, they were brought

into an intimate situation, determined by the confinement of the space, and

were essentially forced to interact and communicate with each other.

When the people came out of the box again, they reported on how

they had felt inside.

Sometimes, people who had been forced to flee their home countries

before arriving in Zeitz dared to enter the box together with locals. In Zeitz

there is a large problem with xenophobia among the population. So the box

also became a symbol for communicating with each other.

Conversations as well as great silences occurred in the box. These

create an awareness of communication and the interplay of proximity and

distance.

Summary

Since 2016 we have been regularly travelling with our students to Zeitz,

where we hold a workshop with similarly interactive topics every summer.

As a group and with our projects, we see ourselves as an active part of a

long-term process of transformation.

The residents react differently. For the most part, however, the

activities and projects are accepted very positively. Zeitz is a town where

only a few cultural events take place. The residents feel recognized by

these projects, and they actively participate in the activities, engage with

the projects and—most importantly—get into conversation with each other.

They are confronted with a view of their town from the outside, which tries

to convey the positive aspects and possibilities that this town has to offer,

without ignoring the negative aspects.

Further links on Zeitz:

Open Space Zeitz – 2019, http://sugarscroll.de/all/events

open-space-zeitz-2019/

Open Space Zeitz – 2017, http://musterfirma.org/lehre

open-space-zeitz-2017/

SEMINAR 02 — Bad Idea

Is a bad idea bad?

Direction: Prof. Ulrike Brückner

3rd Semester, KD

Description

A bad idea can be equated with a mistake or misconduct. Mistakes and bad

ideas force a change of direction within the context. This requires a creative

approach to the respective situation. Often bad ideas or supposed mistakes

are new starting points that can lead to unplanned but unexpectedly better

results, even innovations.

The discovery of America and the discovery of penicillin were the

75\74\

results of mistakes. Post-it Notes, Viagra, and Teflon are also based on

mistakes… Therefore a bad idea is in any case—in the positive and negative

sense—experimental, perhaps even productive.

Assignment

Explore and analyze the world of bad ideas, mistakes, and failure. Develop a

project on the topic of the BAD IDEA. Medium and stylistic means are freely

chosen.

Project: Billigjobs.comAwareness campaign that offers the opportunity to participate with very low

production costs

Project idea by Robin Strasen

http://sugarscroll.de/all/work/billigjobs-com/

Description

Terrible, inhumane working conditions and exploitation along the production

chain of large textile manufacturers are discussed in this project. Robin

produced advertisement leaflets, similar to those usually seen in urban

space when odd jobs are being offered, or a cat has been lot. However, Robin’s

advertisements contained highly questionable job offers with exploitative

working conditions, mimicking those that exist in low-wage countries where

corporations have their goods produced.

Examples“Offering work without insurance”

“Looking for children to exploit for 1.18 euros per day”

“Hiring: 20 euros a month, no vacation, no insurance”

“Offering temporary full-time job! Extension pending overtime”

“Job opening: 12-hour shift per day to be filled”

Working conditions that are unthinkable in Germany appeared to become a

reality through these advertisement leaflets, insofar as they were brought

into public space. They represented a provocation in urban space. They held

a mirror up to the people who read these advertisements. Because who

doesn’t have an H&M t-shirt? There was indeed some trouble on the street,

about which the local press reported (Westfälischer Anzeiger, Stadtanzeiger).

The A4 and A3 advertisements can be used modularly. They can be

pasted individually or combined to form large poster panels.

The production costs were deliberately kept very low. On a website

that provides information about the campaign, visitors given the opportunity

to participate in the campaign. They can download the advertisement layouts,

have them reproduced in the copy shop, and start campaigns themselves.

The visitors can then upload their own campaigns as photographic

documentation to the website.

Summary

While pasting the advertisement leaflets, there was some trouble on the

street. Some people were very irritated, especially regarding the leaflets

about child labor. The campaign brought the problem of exploitative working

conditions that, because they exist so far away in other countries, we do not

really seem to be concerned about in our own. There were also press reports

about this project (West-fälischer Anzeiger, Stadtanzeiger).

SEMINAR 03 — Politics

Direction: Prof. Ulrike Brückner, 3rd Semester, KD

Group project

Interactive staging in space, various stickers and objects

http://musterfirma.org/lehre/politischer-schwarzmarkt/

Description

The Political Black Market was an (undercover) part of the scenographic

concept for the 20th DASA – Scenography Symposium POLITICS in Dortmund

(22.–23.01.2020).

Assignment

Develop sticker series for the DASA – Scenography Symposium POLITICS based

on the symposium topic and brings the stickers into a befitting interactive and

scenographic context at the event.

We researched and analyzed the topic POLITICS together in the

seminar. Through this analysis we discussed the topic a great deal. We

collected the attributes of politics and found out that politics are based

on certain forms of action and communication. We gathered these forms

of action and devel-oped the Political Black Market, which in itself is also a

statement about the current political sphere more generally. During project

development, the theoretical engagement with the topic and the time frame of

conceptualization played the greatest roles due to the complexity of the topic.

Project Description

Political Black Market – Behind the scenes of politics everything is for sale!

Opinions, truths, Likes, votes, rights, compromises, injustice, fake

news, political identities, trust, minis-tries, statements, sleepers, intrigues, etc.

You can trade, buy, sell, and exchange without conscience.

The Political Black Market metaphorically reflects the forms and

processes of political action and does not take a position itself.

Activities

Own currency: the Schwarzmark (Black Mark)

The different banknotes were visually linked to the speakers at

the symposium (portrait, project ele-ments). This created a direct visual

connection between the symposium and our activities.

• Secret distribution of the money to the audience of the DASA

symposium, with instructions to go to the Black Market, where it can be used

to make a purchase.

• Surprising showers of money during the event.

Products: With the currency, visitors were able to buy all kinds of politically

relevant products from illegal, mobile vendors and right from the back of a

truck, e.g. typographic and illustrative b/w stickers, small objects such as

badges, medals, weapons, opinions, truths, Likes, votes, rights, compromises,

injustices, fake news, political identities, trust, ministries, statements,

sleepers, intrigues, etc.

76\

Copiers: If you ran out of money, you could easily get more money reprinted.

In some places, how-ever, it was not recognized by the vendors.

Tattoos: Visitors could also get tattoos of any of the products for sale as

an expression of political fervor. There was a catalogue showing all the

products for exactly this purpose.

Demonstration: We demonstrated with empty posters against and for

nothing.

Political Speech: An important, empty political speech was given.

Fake News: At the DASA event, the visitors could be photographed

harmlessly shaking hands with a person dressed as a politician. By doing so,

they could earn currency to spend again on the Black Market. These photos

were turned into compromising fake news. With political statements, and in

the typical broadcast news layouts (e.g. from FOX NEWS), these fake news

reports appeared on various monitors around the space of the DASA event.

Summary

We were very surprised how well this interactive action and staging was

accepted by the visitors of the symposium. They played along. They collected

the fake money from the floor and used it to buy the “politics” products.

Everyone is familiar with the action of buying, everyone knows the role of

the con-sumer, so the threshold to play the game was very low. The staging

became a real-time theater piece through the active participation of the

visitors. Politics was played. Imagine a typical sales pitch: “I would like to

have a few of the medals and four ministries, namely the Minister of Finance,

the Office for Social Affairs… Do you also have voters?”

The Political Black Market also functions in a slightly modified form

independently from the symposi-um. It can be set up anywhere in the city as

a protest action, e.g. in front of government buildings.

The seminar concepts and projects presented here provoke

communication on socio-political topics and thus stand in a committed

confrontation and interplay with our reality.

79/Design ist immer stark an gesellschaftliche Veränderungsprozesse geknüpft.

Bedingt durch den ge-sellschaftlichen Wandel ändern sich auch unsere

Sichtweisen auf Design und unsere Definitionen.

Die aktuellen Veränderungen in unserem Berufsfeld öffnen die De-

finition von Design für neue Aspek-te. Die neue (und alte) Erkenntnis, dass

Design mehr kann, als nur dienstleistend Inhalte zu struktu-rieren und zu vi-

sualisieren (Visuelle Kommunikation) – ebenso wie die Demokratisierung der

Produkti-onsmittel, die sehr mächtige Kommunikationstools in Zeiten von

Social Media sind –, gibt Designern wesentlich einfachere und größere Mög-

lichkeiten, sich auch mit eigenständig entwickelten Projekten aktiv an Verän-

derungsprozessen von gesellschaftlichen Problemstellungen zu beteiligen

und damit auch GOOD DESIGN zu schaffen.

Die Gesellschaft bestimmt, wie Design wahrgenommen bzw. defi-

niert wird, was Design leisten kann (bzw. inwieweit es sich aktiv einmischen

darf) und welche Rolle und Wichtigkeit es haben soll. Florian Pfeffer be-

schreibt in seinem Buch „Die neue Rolle der Gestaltung in einer veränder-

ten Welt“ und stellt fest: „Es spielt keine Rolle, ob wir glauben, dass Design

die Welt verändern kann oder nicht. Die Welt verändert Design – ob mit oder

ohne uns.“

Designverständnis im Wandel

Zur Zeit wird Designern in Deutschland mehr zugetraut, als das in früheren

Jahren der Fall war, so scheint es mir. Wobei ich auch sagen muss, dass die-

ses Zutrauen bis vor der Digitalisierung – die eben auch ein globales Design-

verständnis mit sich bringt – noch länderspezifisch gewesen ist. Wäh-rend

beispielsweise in den Niederlanden Design (und insbesondere auch Grafik-

design) in der Gesell-schaft einen sehr hohen Stellenwert hatte und als ei-

genständige Kunstform begriffen wurde, bezog sich das Designverständnis

in Deutschland hauptsächlich auf die auftragserfüllende Dienstleistung mit

\Die Rolle der Bildungfür gutes Design



engen Grenzen und mitunter zu geringem Selbstbewusstsein, was die Fä-

higkeit zum autonomen Handeln beispielsweise durch die Realisierung von

eigenständigen Projekten angeht. Dieser Um-stand hat mich immer irritiert,

denn es wurden wichtige Potenziale nicht wahrgenommen. Hat man also

noch vor ein paar Jahren wütend gefragt, warum Designer in Deutschland

nicht (mehr) politisch sind und sich nicht einmischen, so lag das meiner Mei-

nung nach auch daran, dass autonomes Handeln und Mitsprache als Gestal-

ter wenig akzeptiert waren und quasi einen blinden Fleck darstellten. Kurz

gesagt: Diese Eigenschaften wurden auch nicht gelehrt. Der Fokus lag eher

auf der gestalterischen Tätigkeit als Dienstleistung.

Diese nun neu- oder wiederentdeckten Potenziale von Design, die

Auflösung der Hoheitsgebiete und engen Definitionen, schaffen einen neuen,

großen, kreativen Raum und bieten eine sehr anspruchs-volle Freiheit, die

aber zunächst einmal bewältigt werden muss. Design ist prozessorientiert

und parti-zipativ geworden. Designer werden immer mehr zu Design-Stra-

tegen, die Prozesse und Projekte ent-wickeln, die nicht nur in alle möglichen

Medien hineinspielen, sondern auch in der Lage sein müssen, vielleicht ein

Medium dafür erst neu zu erschaffen bzw. Projekte auch ohne inhaltliche,

mediale oder formale Vorgaben zu entwickeln. Sie werden zu Erfindern, die

überdenken müssen, was möglich ist. Designer sind gefordert, wach durch

die Welt zu gehen. Sie haben die Möglichkeit, sich aktiv an Ver-änderungs-

und Verständigungsprozessen zu beteiligen bzw. sie selbstbewusst mit an-

zustoßen. Sie haben dadurch auch die Chance, sich ein ganz individuelles

Arbeitsfeld zu schaffen. Florian Pfeffer beschreibt hierzu eine Vielzahl an

diversen Möglichkeiten und Beispielen, die zeigen, welche neuen Rollenmo-

delle es geben könnte. Diese Anforderungen erfordern auch eine bestimm-

te Art von Aus-bildung, in der Studierenden die passenden Tools, aber auch

das Bewusstsein für die neue Rolle der Gestaltung in unserer Gesellschaft

vermittelt wird.

Auf den folgenden Seiten möchte ich meine Lehrmethode mit eini-

gen Beispielen vorstellen, die diese unterschiedlichen Anforderungen zu in-

tegrieren versucht.

Lehrmethode und Herangehensweise

In den 90er Jahren habe ich an der Gerrit Rietveld Academie in Amsterdam

studiert. Mein Designstu-dium war konzeptorientiert und künstlerisch ange-

legt. Der Schwerpunkt lag auf der inhaltlichen Aus-einandersetzung mit dem

jeweiligen Thema. Im Fokus stand ein ergebnisoffener und konzeptueller

Entwicklungsprozess ohne mediale und formale Vorgaben als die wichtigste

Basis eines jeden gestal-terischen Projektes. Dabei handelt es sich um eine

künstlerische Entwicklungsmethode, die vom We-sen des Themas ausgeht.

Für mich bedeutet Konzeption, das Thema zu reflektieren. Es ist

aber auch ein Prozess der Selbstref-lexion, weil jeder Mensch seine eigenen

Metaphern in sich trägt. Dadurch können zu einem Thema grundverschie-

dene Projekte in unterschiedlichsten Medien entstehen. Diese Reflexion öff-

net Türen in der Wahrnehmung, verändert Sichtweisen und bildet Erkenntnis.

Wie sieht diese Herangehensweise im Einzelnen aus? Ich untersu-

che und analysiere das Thema und stelle die Eigenschaften heraus. Was liegt

dem Thema zugrunde, was sind die wichtigsten Merkmale oder Bestandtei-

le? Es wird ein Research gemacht, Mindmaps werden entwickelt, Gedanken-

skizzen und Stichpunkte gesammelt. (Dieser Prozess kann je nach Thema

allein oder auch durch Partizipati-on von außen, beispielsweise einer Ziel-

gruppe, stattfinden.) Aus den reduzierten Bestandteilen wird eine visuelle

und strukturelle Übersetzung erarbeitet. Dabei wird eine analytische Metho-

de angewen-det, gepaart mit freier Assoziation. Mit einer themengerechten

de

81\80\

Übertragung, die zum Beispiel visuell, szenografisch oder audiografisch, etc.

sein kann, schaffe ich Metaphern. Damit stelle ich Bezüge her, bestimme also

gestalterische und mediale Codes, die mich auf den Inhalt zurückführen. So

entwickle ich meine Gestaltungssprache. Während des Prozesses werden

die Zusammenhänge immer wieder hinterfragt und in Gesprächen und Grup-

pendiskussionen weiterentwickelt.

Diese Herangehensweise, die zunächst vom Medium losgelöst ist,

ermöglicht ein gezieltes Entwickeln von individuellen Gestaltungslösun-

gen sowie interdisziplinäres Arbeiten und hilft dem Gestalter, einen eigenen

Standpunkt zu beziehen. Jede formale Entscheidung ist dabei inhaltlich moti-

viert. Das Kon-zept bestimmt die Stilmittel und kann so zum Experiment füh-

ren. Dabei lassen sich auch die Grenzen in der Gestaltung ausloten.

Durch das Experimentieren lässt sich der gestalterische Hand-

lungsspielraum erweitern, was wiederum Innovationen ermöglicht.

In der Designtheorie sehe ich diesen Kreativitäts- und Entwurfspro-

zess bei folgenden Methoden ver-ortet: Die Methode der Analyse, Projektion

und Synthese, nachzulesen bei Wolfgang Jonas und an-gelehnt an dem For-

schung-durch-Design-Ansatz, wie Alain Findeli ihn beschreibt. Meine Lehre

dient als verbindendes Element verschiedener Designbereiche. Hierbei geht

es zunächst um die Aneig-nung eines interdisziplinären Entwurfsverständ-

nisses. Das bedeutet nicht, die Sprache jedes Medi-ums zu beherrschen. Es

heißt, die Methode zu kennen, um die Sprache der Medien zu dekodieren.

Die Aufgaben beschränken sich auf reine Themenstellungen ohne

formale oder mediale Vorgaben. Die Vorgaben selbst liefern nur das Thema.

Es ist also Teil der Aufgabe, sich die Vorgaben aus der Auseinandersetzung mit

dem Thema zu erarbeiten. Die Studierenden lernen von Anfang an, eigen-stän-

dig und reflektiert zu arbeiten. Autonome Projektentwicklung, das Erarbeiten

von entsprechen-den Lösungswegen muss meiner Meinung nach von Beginn

des Studiums an trainiert werden. Durch die Verknüpfung der beschriebenen

Herangehensweise mit gesellschaftlich relevanten Themen- oder Problem-

stellungen werden Studierende für die Wahrnehmung und Reflexion ihres

Umfeldes sensibili-siert und lernen dabei, solche Themen selbst zu erkennen,

zu analysieren und entsprechende Pro-jekte zu entwickeln.

Diese Methode schafft unabhängig von aktuellen Lösungswegen

eine solide Toolbox, die auch zu-künftig anwendbar bleibt. Sie befähigt De-

signer, im Rahmen einer forschenden und experimentellen Designpraxis

Veränderungsprozesse, Themen- und Problemstellungen methodisch zu

analysieren und entsprechende, gestalterisch-praktische Projekte und Dis-

kurse zu initiieren, zu konzipieren und umzusetzen.

Unter GOOD DESIGN verstehe ich nicht nur umweltfreundliche Ob-

jekte, sondern auch prozessorien-tierte, zunächst ergebnisoffene Projekte,

die eine Brücke schlagen können hin zu einem besseren Verständnis von be-

stimmten gesellschaftlichen Problemstellungen. Auf diese Weise können sie

viel-leicht auch zu größerer Akzeptanz und der Auflösung von gesellschaft-

lichen Problemen beitragen. Diese Art von GOOD DESIGN kann das Verhalten

der Menschen positiv beeinflussen.

Lernziele der Methode

Die Lernziele der hier vorgestellten Methode können sein:

• Erlernen eines analytischen Designverständnisses

• Erforschung von Kontext und Koinzidenzen

• Prozessorientiertes, ergebnisoffenes und medienunabhängiges Ar-

beiten mit der Fähigkeit zum Experiment

• Übertragung der durch das Konzept bestimmten Stilmittel auf das

entsprechende Medium

• Bewusstsein schaffen für die enge Verknüpfung von Design und

Gesellschaft und, damit einher-gehend: Entwicklung eines Be-

wusstseins für die Verantwortung und vor allem auch für die

Mög-lichkeiten, die Gestalter heute haben.

• Autonome Projektentwicklung im Zusammenhang mit aktuellen

gesellschaftlich relevanten The-menstellungen

Seminare mit Projektbeispielen

Im Folgenden möchte ich drei unterschiedliche Seminare beschreiben und

ausgewählte Projekte kurz vorstellen, die aus ihnen hervorgegangen sind.

SEMINAR 01 — Open Space — Zeitz

Seminar, Exkursion und Workshop: Open Space – Zeitz

Leitung: Prof. Ulrike Brückner, Prof. Nora Fuchs,

2. Semester, KD und Objekt und Raum

Beschreibung

Zeitz ist ein Ort im Burgenlandkreis, ca. 30 Minuten von Leipzig entfernt.

Diese Stadt gibt es ungefähr seit 1050 Jahren und in ihrer Architektur sind

noch Spuren aus allen vergangenen Epochen sichtbar. Weil in dieser Regi-

on besonders viele Nachfahren Martin Luthers lebten und noch leben, ist

Zeitz seit 2001 Stammsitz der Lutheriden-Vereinigung. Deswegen bezeich-

net sich die Stadt auf ihrem Orts-schild als „Stadt der Luthernachkommen“.

Zu DDR-Zeiten wurden hier Kinderwägen produziert, die Süßigkeiten kamen

von Zetti, einem Werk in Zeitz, es gab ein Stahlwerk, eine Schokoladenfabrik

und vieles mehr. Nach der Wende ist die Industrie fast verschwunden. Vie-

le einst sehr schönen Häuser und Fabriken stehen leer oder zerfallen. Ein

Teil der Altstadt musste in den 90er Jahren abgeris-sen werden, aber eini-

ges wurde inzwischen auch wieder saniert, wie zum Beispiel die Moritzburg.

Trotzdem – die Leere bleibt spür- und sichtbar. Jeder Ort hat seine eigene

Atmosphäre, seine Eigen-schaften, die ihn besonders machen. In Zeitz ist

das Vergangene präsent, die Zukunft jedoch noch nicht zu erkennen, denn

der Ort befindet sich in einer Zwischenzeit. Diese Leere und Unbestimmt-

heit kann positiv gewertet und erlebt werden: Sie bietet viel Raum für neue

Ideen und Möglichkeiten.

Aufgrund der hohen Arbeitslosigkeit in der Region schwindet die Be-

völkerung von Zeitz. Einst waren es ca. 60.000 Bewohner, jetzt sind es nur

noch ca. 30.000. Unzufriedenheit, Frustration und gefühl-ter Stillstand ma-

chen sich in der Bevölkerung breit. Fremdenfeindlichkeit gehört hier zum All-

tag. In Zeitz wählen 38 Prozent der Einwohner die AfD (ausländerfeindliche,

rechtsradikale Partei).

Aufgabenstellung

Im Seminar geht es um das Entwickeln von Kommunikationsstrategien mit

den Bewohnern von Zeitz. Die Bedingung ist hierbei, die Bevölkerung interak-

tiv in die Projekte mit einzubeziehen.

Für Zeitz sollen (für bestimmte Problemstellungen) Projekte ent-

wickelt werden, die innerhalb einer Woche umgesetzt werden können.

Das Thema und das Medium sind dabei frei wählbar. Es kann eine Ortsbe-

83\82\

schreibung sein oder die Dokumentation eines Missstandes im Ort. The-

men könnten bei-spielsweise sein: Zukunftserwartungen, Erinnerungsorte,

Nachwuchs, Leerstand, der Pessimismus der Zurückgebliebenen, Auslän-

derfeindlichkeit etc.

Dabei können zum Beispiel Hefte, Fotos, Poster, Filme, Weban-

wendungen, Objekte, räumliche In-szenierungen oder auch temporäre In-

terventionen und Zwischennutzungen entstehen. Das Seminar findet in

Zusammenarbeit mit dem gleichnamigen Seminar von Nora Fuchs („Objekt

und Raum“) statt. Es kann in Gruppen (zwei bis vier Studierende) oder auch

einzeln an den Projekten gearbeitet wer-den.

Der Schwerpunkt der Seminare liegt auf der inhaltlichen Auseinan-

dersetzung mit dem jeweiligen Thema. Die Studierenden lernen, eigenständig

Projekte prozessorientiert und ergebnisoffen zu ent-wickeln, ihre Wahrneh-

mung in Bezug auf gesellschaftliche Themen und Problemstellungen zu

sensi-bilisieren und eine konzeptuelle Herangehensweise an Gestaltungs-

aufgaben zu trainieren. Insbe-sondere wird in diesem Seminar Kommunika-

tionsdesign mit Raum, Objekt und Interaktion verknüpft. Dabei werden die

Potenziale von Gestaltung experimentell erkundet.

Ausgangssituation

Das Seminar diente der Vorbereitung der einwöchigen Exkursion nach Zeitz

sowie des Workshops. Die Seminarteilnehmenden wohnten im Kloster Pro-

sa aus dem 11. Jahrhundert. Eine leerstehende alte Stadtbibliothek mitten im

Ort diente als Arbeitsplatz und Ausstellungsort. Mit im Gepäck hatten die Se-

minarteilnehmenden eine mobile Hochdruckwerkstatt, Scanner und Drucker.

Im Seminar wurde zunächst der Ort Zeitz recherchiert. Die Studie-

renden filterten Problemstellungen, Eigenschaften und Merkmale des Or-

tes heraus. Sie konnten sich in Arbeitsgruppen zusammenfinden oder auch

allein ein Projekt entwickeln. Die Studierenden sollten aus diesem Recher-

che- und Analy-seprozess heraus ein Thema finden, zu dem sie ein Projekt

entwickeln wollten. Diese Projekte wurden soweit konzipiert und entwickelt,

wie es möglich war in Vorbereitung auf den einwöchigen Workshop, in dem

die Projekte dann umgesetzt werden sollten.

Auswahl der entstandenen Projekte

Projekt 1: 95 Zeitzer Thesen

Installation und Interaktive Intervention im Stadtraum

Buch von Oliver Kaufhold


Beschreibung

Zeitz ist die Stadt der Lutheriden. Hier leben die meisten Nachkommen von

Luther. Das Projekt erin-nert an die 95 Thesen von Luther, die er an die Kir-

chentür in Wittenberg geschlagen hatte und so die große kirchliche Refor-

mation auslöste. In Zeitz konnten die Bewohner nun ihre eigenen Thesen zu

Zeitz an die Tür schlagen. Dazu gehörten zum Beispiel Veränderungswün-

sche und Kritik in Bezug auf die Stadt Zeitz und auf das Leben in ihr. Hierfür

wurden drei alte Türen an die Außenwand der Kirche im Ort gelehnt, stell-

vertretend für die Tür von Luther, an die er damals seine Thesen geschla-gen

hatte, damit alle Bewohner der Stadt sie lesen konnten.

Die Leute im Ort konnten sich am Infostand zum Projekt ein lee-

res Thesenblatt nehmen, es ausfüllen und mit Hammer und Nagel an die

Kirchentür schlagen. Beispiele für Zeitzer Thesen: Innenstadt be-leben, zu-

kunftsorientierte, jugendliche Stadtverwaltung, Sportförderung für Kinder

und Jugendliche, Gründerzentrum fehlt etc.

Das Projekt wurde zur Ausstellungseröffnung in die Bibliothek ver-

lagert, wo die Besucher ebenfalls aktiv ihre Zeitzer Thesen an die Türen

schlagen konnten.

Die gesammelten Zeitzer Thesen wurden anschließend in einem

Buch zusammengefasst, das der Bürgermeister und die Touristeninfor-

mation im Ort bekommen haben. Denn gleichzeitig sind diese Thesen auch

eine Ortsbeschreibung aus der Sicht der Bewohner. Die Übergabe der The-

sen an den Bürgermeister war eher ein symbolischer Akt mit dem Ziel, Auf-

merksamkeit zu generieren für die Ein-wohner und ihre Schwierigkeiten im

Ort und um dadurch Regierung und Bevölkerung vielleicht etwas näher zu-

sammenzubringen. Zumindest hatte das Projekt eine entlastende Wirkung

auf die Einwoh-ner, die sich wahrgenommen fühlen konnten und tatsächlich

durch das Projekt auch miteinander kommunizierten.

Projekt 2: Nächstenliebe

Interaktive Intervention im Stadtraum

Projektidee von Jasmin Keune-Galeski

http://sugarscroll.de/all/events/zeitzer-tueren-buch-von-sabrina-wiese/

Beschreibung

Jasmin hat eine Box gebaut, ein kleiner abgeschlossener Raum mit zwei Öff-

nungen für zwei Köpfe. Diese Box stülpen sich zwei Personen jeweils über

ihren Kopf. Der Abstand zwischen den beiden Köpfen beträgt ca. 20 cm. Set-

zen sich zwei Menschen diese Box auf, sehen sie sich direkt an und sind durch

den abgeschlossenen, engen Raum extrem fokussiert aufeinander. Es ist eine

„Bezie-hungskiste”.

Wie lange hält man es mit einem Freund oder Fremden in dieser

„Beziehungskiste” mit nur 20 cm Ab-stand aus? Das Projekt Nächstenliebe

thematisiert das Gefühl von Nähe und Distanz. Jasmin ist durch Zeitz gelau-

fen und hat die Bewohner gebeten, sich miteinander unter die Box zu bege-

ben, solange sie es eben aushalten. Die zwei Menschen, die sich jeweils in

die Box trauten, waren durch die Enge des Raumes in eine intime Situation

gebracht und quasi gezwungen, in der Box miteinan-der umzugehen und zu

kommunizieren.

Wenn die Leute wieder aus der Box herauskamen, berichteten sie,

wie sie sich darin gefühlt hatten.

Manchmal waren es auch Menschen, die aus ihren Heimatländern

flüchten mussten und in Zeitz ge-landet sind, die sich mit Einheimischen in

diese Box trauten. In Zeitz gibt es ein großes Problem mit Ausländerfeind-

lichkeit in der Bevölkerung. So wurde die Kiste auch zu einem Symbol für das

Mitei-nander-Kommunizieren.

In der Box entstanden Gespräche oder auch großes Schweigen. Da-

bei wird ein Bewusstsein für Kommunikation und das Wechselspiel von Nähe

und Distanz geschaffen.

Unsere Bilanz

Wir fahren seit 2016 regelmäßig mit unseren Studierenden nach Zeitz und

veranstalten dort jeden Sommer einen Workshop mit ähnlich gelagerten in-

teraktiven Themenstellungen. Wir sehen uns als Gruppe mit unseren Projek-

85\84\

ten, als aktiven Teil eines langfristigen Veränderungsprozesses.

Die Einwohner reagieren unterschiedlich. Zum größten Teil aber

werden die Aktionen und Projekte sehr positiv angenommen. Zeitz ist ein

Ort, in dem nur wenige kulturelle Events stattfinden. Die Ein-wohner füh-

len sich durch diese Projekte wahrgenommen und sie nehmen aktiv an den

Aktionen teil, setzen sich mit den Projekten auseinander und kommen – was

das Wichtigste ist – miteinander ins Gespräch. Sie werden konfrontiert mit

dem Blick von außen auf ihre Stadt, der versucht das Positive und die Mög-

lichkeiten zu vermitteln, die diese Stadt bietet, ohne dabei negative Aspekte

auszublen-den.

Weitere Links zu Zeitz:

Open Space Zeit z– 2019,

http://sugarscroll.de/all/events/open-space-zeitz-2019/

Open Space Zeitz – 2017,

http://musterfirma.org/lehre/open-space-zeitz-2017/

SEMINAR 02 — Bad Idea

Ist eine schlechte Idee schlecht?

Leitung: Prof. Ulrike Brückner, 3. Semester, KD

Beschreibung

Eine schlechte Idee kann gleichgesetzt werden mit einem Fehler oder Fehl-

verhalten. Fehler, schlech-te Ideen erzwingen eine Richtungsänderung

innerhalb des Kontextes. Das erfordert einen kreativen Umgang mit der je-

weiligen Situation. Oft sind schlechte Ideen oder vermeintliche Fehler neue

Aus-gangspunkte, die zu nicht geplanten, aber unerwartet besseren Ergeb-

nissen oder gar zu Innovatio-nen führen können.

Die Entdeckung Amerikas und die Entdeckung des Penicillins sind

aus Fehlern hervorgegangen. Auch Post-it, Viagra und Teflon basieren auf

Fehlern ... Eine schlechte Idee ist also in jedem Fall – im positiven und im ne-

gativen Sinne – experimentell, vielleicht sogar produktiv.

Aufgabenstellung

Erforsche und analysiere die Welt der schlechten Ideen, Fehler und des

Scheiterns. Entwickle zum Thema BAD IDEA ein Projekt. Medium und Stilmit-

tel sind frei wählbar.

Projekt: Billigjobs.com

Aufklärungskampagne, die mit sehr geringen Produktionskosten die Mög-

lichkeit bietet, sich an der Kampagne zu beteiligen.

Projektidee von Robin Strasen

http://sugarscroll.de/all/work/billigjobs-com/

Beschreibung

Thematisiert werden schlechte, menschenunwürdige Arbeitsverhältnis-

se, die Ausbeutung in der Pro-duktionskette großer Textilhersteller. Robin

produzierte Anzeigenzettel, wie man sie für gewöhnlich im Stadtraum sieht,

wenn kleine Jobs angeboten oder entlaufene Katzen gesucht werden. Die An-

zei-gen enthielten allerdings sehr fragwürdige Jobangebote mit ausbeute-

rischen Arbeitsbedingungen, wie sie in Billiglohnländern bestehen, in denen

Konzerne ihre Waren produzieren lassen.

Beispiele

„Biete Arbeit ohne Versicherung“

„Suche Kinder zum Ausbeuten für 1,18 Euro pro Tag“

„Stelle ein: 20 Euro im Monat, kein Urlaub, keine Versicherung“

„Biete befristete Vollzeitstelle! Verlängerung bei Überstunden“

„Stelle frei: 12 h-Schicht pro Tag zu vergeben“

Arbeitsbedingungen, die in Deutschland undenkbar sind, schienen durch die-

se Anzeigenzettel Reali-tät zu werden, indem sie in den öffentlichen Raum

gebracht wurden. Sie stellten im Stadtraum eine Provokation dar. Sie hielten

den Menschen, die diese Anzeigen lasen, einen Spiegel vor. Denn wer hat kein

T-Shirt von H&M? Es gab tatsächlich einigen Ärger auf der Straße, über den

die lokale Pres-se berichtete (Westfälischer Anzeiger, Stadtanzeiger).

Die A4- und A3-Anzeigenzettel lassen sich modular einsetzen. Sie

können einzeln verklebt werden oder auch zu großen Plakatflächen zusam-

mengestellt werden.

Die Produktionskosten wurden bewusst sehr gering gehalten. Auf

einer Website, die über die Aktion aufklärt, bekommt der Besucher die Mög-

lichkeit, an der Kampagne teilzunehmen. Er kann sich die Anzeigen-Layouts

herunterladen, diese im Copyshop nachproduzieren lassen und selbst eine

Kam-pagne starten. Seine eigene Aktion kann der Besucher wiederum als Fo-

todokumentation auf die Website hochladen.

Unsere Bilanz

Beim Verkleben der Anzeigenzettel gab es einigen Ärger auf der

Straße. Einige Menschen waren sehr irritiert, besonders über die Zettel mit

der Kinderarbeit. Die Kampagne holte das Problem von ausbeuterischen Ar-

beitsbedingungen, das uns, so fern in anderen Ländern, nicht wirklich zu be-

tref-fen scheint, ins eigene Land. Es gab ebenfalls Presseberichte zu diesem

Projekt (Westfälischer An-zeiger, Stadtanzeiger).

SEMINAR 03 — Politics

Leitung: Prof. Ulrike Brückner, 3. Semester, KD

Gruppenprojekt

Interaktive Inszenierung im Raum, diverse Sticker und Objekte

http://musterfirma.org/lehre/politischer-schwarzmarkt/

Beschreibung

Der Politische Schwarzmarkt war ein (undercover) Teil der szenografischen

Konzeption für das 20. DASA – Szenografiesymposium POLITICS in Dortmund

(22.–23.01.2020).

Aufgabenstellung

Entwickelt für das DASA – Szenografiesymposium POLITICS Stickerserien

zum Thema und bringt diese Sticker in einen entsprechenden interaktiven

und szenografischen Kontext in der Veranstal-tung.

Wir recherchierten und analysierten gemeinsam im Seminar das

Thema POLITICS. Durch diese Ana-lyse diskutierten wir sehr viel über das

Thema. Wir versammelten die Eigenschaften von Politics und fanden heraus,

87\86\

dass Politics auf bestimmten Handlungs- und Kommunikationsformen ba-

sieren. Wir versammelten diese Handlungsformen und entwickelten daraus

den Politischen Schwarzmarkt, der in sich selbst auch ein Statement zur ak-

tuellen Politik im Allgemeinen darstellt. Im Rahmen der Projekt-entwicklung

hatte die theoretische Auseinandersetzung mit dem Thema und der Konzep-

tionszeitraum den größten Anteil aufgrund der Komplexität des Themas.

Projektbeschreibung

Politischer Schwarzmarkt – Hinter den Kulissen der Politik ist alles käuflich!

Meinungen, Wahrheiten, Likes, Wählerstimmen, Rechte, Kompromisse, Un-

recht, Fake News, politi-sche Identitäten, Vertrauen, Ämter, Statements,

Schläfer, Intrigen etc.

Sie können ganz gewissenlos handeln, kaufen, verkaufen und tauschen.

Der Politische Schwarzmarkt spiegelt metaphorisch politische Handlungs-

formen und Prozesse und bezieht dabei selbst keine Position.

Aktionen

Eigene Währung: Die Schwarzmark

Die unterschiedlichen Geldscheine waren visuell an die Sprecher auf dem

Symposium gekoppelt (Por-trait, Projektelemente). Das schuf eine direkte

visuelle Verbindung zwischen Symposium und unseren Aktionen.

• Heimliches Verteilen des Geldes an das Publikum des DASA-Sym-

posiums, mit dem Hinweis auf den Schwarzmarkt, auf dem man sich damit

etwas kaufen kann.

• Überraschender Geldregen während der Veranstaltung.

Produkte: Mit dem Geld konnten die Besucher bei illegalen, fliegenden Händ-

lern und direkt von der Ladefläche eines Lkws herunter alle erdenklichen,

politisch relevanten Produkte erwerben (in Form von typografischen oder il-

lustrativen s/w-Stickern oder kleinen Objekten, wie Abzeichen, Orden, Waf-

fen, Meinungen, Wahrheiten, Likes, Wählerstimmen, Rechte, Kompromisse,

Unrecht, Fake News, politische Identitäten, Vertrauen, Ämter, Statements,

Schläfer, Intrigen etc.)

Kopierer: Ging das Geld aus, konnte man sich problemlos weiteres Geld

nachdrucken lassen. Stel-lenweise wurde es von den Händlern allerdings

nicht anerkannt.

Tätowierungen: Die Besucher konnten sich alle käuflich zu erwerbenden

Produkte auch tätowieren lassen als Ausdruck politischer Leidenschaft.

Hierzu gab es einen Katalog mit allen abgebildeten Produkten.

Demonstration: Wir demonstrierten mit leeren Plakaten gegen und für Nichts.

Politische Rede: Es wurde eine wichtige, leere politische Rede gehalten.

Fake News: Die Besucher konnten sich auf der DASA-Veranstaltung ganz

harmlos mit einem als Politiker verkleideten Menschen händeschüttelnd fo-

tografieren lassen. Auf diese Weise konnten sie sich Geld verdienen, das sie

auf dem Schwarzmarkt wieder ausgeben konnten. Diese Fotos wurden zu

kompromittierenden Fake News umgewandelt. Mit politischen Aussagen

und im typischen Nach-richten-Layout (beispielsweise von FOX NEWS) er-

schienen diese Fake News auf diversen Monitoren im Raum verteilt auf der

DASA-Veranstaltung.

Unsere Bilanz

Wir waren sehr überrascht, wie gut diese interaktive Aktion und Inszenie-

rung bei den Besucherinnen und Besuchern des Symposiums angenommen

wurden. Sie spielten mit. Sie sammelten das Fake-Geld vom Fußboden auf

und kauften sich damit die Politics-Produkte. Jeder kennt die Handlungs-

for-men des Kaufens, jeder kennt die Rolle des Konsumenten. Dadurch war

die Hemmschwelle mitzu-spielen sehr niedrig. Die Inszenierung wurde durch

die aktive Besucherbeteiligung zum Echtzeit-Theaterstück. Es wurde Politics

gespielt. Man stelle sich ein typisches Verkaufsgespräch vor: „Ich hätte gern

ein paar von den Orden und vier Ämter, also den Finanzminister, das Amt für

Soziales … Haben Sie auch Wählerstimmen?“

Der politische Schwarzmarkt funktioniert auch in leicht abge-

wandelter Form unabhängig vom Sympo-sium. Man kann ihn überall in der

Stadt als Protestaktion oder beispielsweise auch vor Regierungs-gebäuden

aufbauen.

Die hier vorgestellten Seminarkonzepte und Projekte provozie-

ren Kommunikation zu gesellschaftspolitischen Themen und stehen damit

in einer engagierten Auseinandersetzung und Wechselwirkung mit unserer

Wirklichkeit.

89\“If all the people living on this planet would seek the product-based idea of wellbeing it would end up with a huge combination of ecological catastrophe because of all the people that are able to have the productsand at the same time a social one caused by those who cannot have them.”Ezio Manzini

Designers as the Dictators of Wellbeing

The industrial design field as we know it was born out of the Industrial

Revolution in the middle of the eighteenth century. Industrialization and

the boom of mechanized manufacturing created the need for a profession

that could shape manufactured objects quickly and cheaply. Back then, it

was an amazing improvement to the way we created and produced things.

Manufacturing and production became fast and easy, so the world quickly

became comfortable with the idea of fast expansion. Industrialization made

products which had been accessible only to the privileged few accessible to

everyone. Products that had been perceived as luxury items, and seen only in

the homes of the rich, were suddenly affordable to society at large. Access to

those previously unaffordable products was suddenly democratized.

Designers took their role seriously by making all efforts to design

things in the cheapest way possible. The cheaper, the better. The cheaper

products were, the more accessible they were. And that was the point.

Owning certain things meant having a certain status. The more possessions

one owned, the happier they were - and industrial designers could do even

more than that. They soon realized that designing products for the conveyor

belt could also be an aesthetic pursuit. The design profession became more

competitive. Designers were sketching their hearts out to make the most

beautiful tables, pens, stoves, and everything else, and consumers were

working their hearts out to afford these pretty things, because they felt

that the more pretty things one owned, the better they were perceived to

be as a person.

Society defines the idea of wellbeing over time. Industrial design

became the discipline of making products look attractive, and designers

were given the privilege and opportunity to take part in defining our collective

idea of wellbeing. They became the agents through which society integrated

new products and possessions into the notion of happiness. That is a lot of

responsibility for designers. They have to make decisions on which future

notions of wellbeing will be based.

What designers created back then was product-based wellbeing.

Their goal was obvious – through the new trend of mass production, they

could earn money by making products that satisfied people who could

not previously afford them. That was appealing because more and more

products could be sold, and the demand was never-ending. Our happiness

became tangible. The more one had the better. “Materialism became integral

to notions of happiness.” ¹Sadly, designers have been the driving force behind an unsustainable

idea of wellbeing, and the idea of human betterment has become tightly

bound to product development. Tony Fry calls this the expansion model in

his book Design Futuring: Sustainability, Ethics, and New Practice. The trend

of consumption began, and products fulfilled their function in the market as

tokens of economic exchange. In the expansion model , markets are loaded

with products, and that is the measure of development. The producers are

driven by both demand and competition and are obsessed with inventing

newer and newer versions of those products so they could succeed and

outshine their competitors in the market. Older, less fashionable products

leave the market not only because of poor quality, but also because they are

seen as outdated. 2

Products are designed to be easily replaced with new upgrades. In

many cases they are intentionally built to break easily. These factors drive

consumers to keep buying newer and newer versions of products which

receive endless unnecessary upgrades. Trends dictate that users buy the new

version as soon as the old one breaks, or when they are “not trendy anymore.”

“The user is forced to participate through the regular upgrading of existing

ones and through buying new ones” ¹ but “new products today are wasteful,

unnecessary versions of the existing ones.” ¹ Technological innovation is

the goddess of all expansion engineers, who believe in enhancing human

experience through material goods and their functions.

During the expansion era - the time after the Industrial Revolution -

technical innovations developed exponentially. Designers became the modern

inventors, which did not end happily in some cases. We have seen the creation

of products that were previously unimaginable, products that address a

“need” for comforts that we did not previously have, and new markets were

created to sell those products. Using these products created new tasks in our

daily lives. New tasks in people’s lives brought new problems, which led to

more and more new products meant to solve those problems.

Advanced technology has made it easier for us to perform certain

complicated tasks, including tasks that had previously only been performed

by specialized professionals. Once, beepers were primarily used by physicians

in emergencies, and today mobile phones are commonplace. 2 By allowing

us to contact each other across vast distances whenever we want, mobile

phones created a “need” for something human beings don’t actually require

to survive, and for thousands of years never even thought possible.

Designers attempted to improve quality of life by taking services

and experiences which had only been accessible in public places and finding

ways to bring them into the home. For example, once people needed to

play an instrument or go to a concert in order to hear music. Utilizing a

\The Day We All Become Designers: the Symphonyof Ethics and Aestheticsin Design

Eliška Skarolková[email protected] Republic

keymordsdesignersustainabilitycircular economythemesethics and design(ir)responsibility of designthe role of education for good design

en

1 “If all the people living

on this planet would seek

the product-based idea of

wellbeing it wouldend up with a huge

combination of ecological

catastrophe because of all

the people that are

able to have the products and at the same time a

social one caused by those

who cannot have

them.”

Ezio Manzini

2 “The rate of product

innovation, particularly in

electronics, continues to

accelerate, and users are

conditioned to participate

in the process through

the regular upgrading of

existing products and the

acquisition of new ones.”

Victor Margolin

91\90\

laundry machine meant going to a laundromat. Printing required large,

stationary machines. Technology has now made all of those accessible

within the home. 2 The movement of services into homes freed up people’s

time and gave them a greater degree of ease and comfort in their day-to-

day affairs.

Ezio Manzini, an Italian design academic and a founder of DESIS 3

, introduced the term disabling solutions into discussions on design ethics.

Disabling solutions are innovations that bundle knowledge and skills into

devices that perform certain tasks for us, making us forget our natural

abilities. The idea that wellbeing means minimization of personal involvement

and putting the least amount of physical effort into accomplishing a task in

the shortest time possible must change. ¹In some design decisions, a phenomenon called radical monopoly 4

can be observed. Radical monopoly is when a situation emerges in which

if one wants to function in society, one has no choice other than to use a

certain technology. For example, many cities are designed so that the only

reasonable way to get from point A to B is to use a car.

It can be said that we traded our skills to the market. If we want our

skills back, we have to go to the markets and buy their materialized versions

- smart products. But the truth is that we are not buying them back - we are

only borrowing. Soon they will break, and we will have to go to the market

again. We traded our natural abilities and self-reliance for dependency on

what is available for sale. We have no choice but to rely on the technologies

that are sold to us. ¹

Beyond Product Design

With the realization that the planet is running out of resources, there

has been an emerging criticism of designers, who can be seen as actively

serving to accelerate the overconsumption of resources and the poisoning

of our environment. In 1972, the designer and educator Victor Papanek said

in his book Design for the Real World that “by creating whole new species of

permanent garbage to clutter up the landscape, and by choosing materials

and processes that pollute the air we breathe, designers have become a

dangerous breed.” 5

As designers began to awake from the Industrial Revolution into

our current era, the perception of design being mainly an art discipline, and a

discipline of giving shape to objects, began to transform. Papanek and other

designers started looking for alternatives to the classic industrial model

of designing products for consumer culture. Design using low technology,

design for the disabled, and consciousness about environmental problems

are among the new practices that emerged. Design started its transition

from designing primarily consumer goods to designing to solve problems.

Designers and design theorists started talking about the actual

purpose of designing and about wicked problems. According to a design

theorist Horst Rittel, wicked problems are “A class of social system

problems which are ill-formulated, where the information is confusing,

[there are] many clients and decision makers with confusing values, [and]

the ramifications in the whole system are thoroughly confusing.“ In other

words, wicked problems are social or cultural problems that are extremely

difficult or impossible to solve because of contradictor information, the

number of people and opinions involved, the large economic burden, and the

interconnected nature of these problems with other problems. 6 Examples

of these types of problems include poverty, sustainability, equality, and

health and wellness. It was argued that designers, as creative individuals

who are experienced with user research and complex problem solving, are

especially capable of targeting these problems.

Fourth domain design, as discussed by Victor Margolin in his book

The Politics of the Artificial: Essays on Design and Design Studies , should be

the new playground for designers. Fourth domain design can be understood

as a combination of the three traditional domains of design. The first domain

is visual and graphic communication. The second domain is material things,

such as product, industrial design, and architecture. The third domain is the

design of activities, services, and interactions. 7

The term service design was first used in the eighties by Shostack,

and the concept was developed as a shift from traditional marketing and

management services. 8 Many people had realized the need for shifting

away from a product economy, which fills the planet up with stuff, to a

service economy. The notion that we may not need more stuff to make

our lives fulfilled is also where the idea of a sharing economy comes

from. We need the services that allow us to perform activities without

owning products. The third domain became widely known over the past

few decades, and is seen as taking over some previously necessary design

activities. This is very much due to the digitalization trend, and the trend

of shifting from a product economy to a service economy. Many designers

who were educated to be industrial designers have been shifting to these

“intangible” disciplines of design; becoming UX designers, service designers,

or system designers.

Fourth domain design , however, goes beyond that. Fourth domain

design is the design of complex systems or environments for living, working,

playing, and learning. 7 It can be looked at as a combination of the three

traditional domains, as well as systems design.

The notion of companies creating products and services that

cannot meet people’s needs gave birth to another design discipline - Design

Thinking. Design Thinking is a creative approach to problem-solving, based

on articulating a clear design brief that stems from a real problem. Design

Thinking and Human Centered Design, an approach which stresses the

importance of putting human needs at the center of design, were made

famous by IDEO, an innovation and design firm, and Stanford d.school. 9

For the purposes of this article, I will use the term Human

Centered Design. The Human Centered Design methodology is built upon

a predetermined design process that is easy to follow and ensures that

the designers, who are often not designers by occupation, go through the

iterative phases of convergent and divergent ways of thinking. That Human

Centered Design allows different people from very different disciplines

to come together and design together, without having to be professional

designers, is one of the greatest advantages of this approach. We can

observe a similar philosophy in Design Thinking methodology, or in service

design practice. These are just some of the best known emerging design

disciplines which go beyond design as a creative art, and have a bit more of a

management approach.

ETHICS IN DESIGN

When we think of ethics, it is usually because we bear some measure of

responsibility for another person involved in some action, experiment, design,

or event which may be affected, directly or indirectly, by our work or actions.

Applied ethics takes into consideration the moral aspects of how we treat

an individual or a group of individuals. 10 As designers, this is what we often

discuss in the field of Human Centered Design.

93\92\

Beyond Human-Centered Design

Despite its benefits, Human Centered Design is not above critique. Based

on the research and practice I have been exposed to in the design world,

I believe that Human Centered Design is lacking inclusivity. A good design

should be inclusive. Human Centered Design is meant to put human beings

at the center of the action. Through ethnographic research, designers

organize individual interviews to investigate what are the real struggles of

the individual, and what causes them, in order to design innovations tailored

to their needs. This is a very powerful technique. However, it can be very

risky if it’s not practiced consciously.

The boom of publicly available, open-source design kits made

it possible for many non-design companies and individuals to use design

techniques in their own work. Design education has been democratized, and

we can now see a flood of design events claiming that design thinking can be

learned in two or three-day boot camps and workshops. And to some extent,

it can. Human Centered Design techniques are openly available to the public,

and have been made understandable enough that anyone 11 can use them.

But laying these concepts out in such simple and straightforward ways can

lead to some serious problems.

The two most discussed problems in design are environmental

sustainability and human inequality. If we center our theories of design

exclusively on humans and their immediate needs, and we are not conscious

of the consequences of our actions, it can lead to catastrophe, because

Human Centered Design does not call for considering broader ecological

contexts. Manufacturing products perfectly tailored for the user’s needs

can be harmful if we don’t take into consideration the processes, materials,

and actors involved, as well as the disposability or reusability of the product.

Environmental considerations should be considered as an integral factor

in the context of any design work. Our planet has only a finite amount of

material resources for us to utilize, and is home to millions of species other

than humans. We must not forget that laying down a highway that tears

a green field in half will deeply affect its animal inhabitants. We must not

forget that the intended users of a future highway, the drivers and their

passengers, are not the only users involved. The hectares of grass and trees

that will be destroyed have their own users - the fauna and flora without

which the planet wouldn’t survive.

As for human inequality, it is no secret that entering the design

profession is in many cases a privilege reserved for those from wealthier

backgrounds. Design schools, as well as shorter design courses, are often

prohibitively expensive. This puts many people interested in design at a huge

disadvantage. Moreover, ninety percent of the world’s population are at a

disadvantage simply because there are very few designers among them in

their communities.

These factors lead to structural imbalances. When we center

our designs around just one human, or group of humans, it is easy to

overlook the ways our designs may unintentionally exclude members

of other groups. Services designed with a deep understanding of one

particular context will not necessarily be accessible to members of lower-

income communities, whose lives have been shaped by very different

circumstances. Furniture crafted in the western world for the ergonomic

considerations of people of one race, even if it’s meant to be used locally,

will never be entirely inclusive.

Given the issues discussed above, ethics in design need to be

rethought. Designers must broaden their ethical norms beyond humanism.

To quote Buchanan on the theory of fourth domain design , “designers should

be exploring their role in sustaining, developing, and integrating human

beings into a broader ecological and cultural environment.” 7

DEVELOPING A NEW FRAMEWORK

For the purposes of this work I decided to perform an experiment. Doing a

little research in the design community I have access to, I challenged myself

to create a framework for navigating the ethical issues inherent in the design

field, and I am presenting that framework on the following pages.

Methods Used

As designers, we often don’t know what is waiting for us around the corner

on our labyrinthine journey through design. We often feel lost in the design

scope and design brief. The only way to cope with this is to learn to be

comfortable in ambiguity. Early prototyping can help you find the way out. In

the field of service design, we designers often use just keywords in the very

first days of a project, and ask people around us what they associate with

them. I feel that there is something artistic about this research technique -

like throwing paint on a white canvas and letting it shape itself with no plans

or intentions, just waiting to see what will come out from it and letting that

guide your next steps.

For this study I decided to use some very simple research techniques.

I asked people around myself what they think about the topic. I interviewed

both designers and non-designers about what ethics means to them

and how they assess it when performing their work. People from diverse

backgrounds, including design, sociology, marketing, anthropology, business,

and IT were taken into account. Apart from people I know, I also used social

media to gather information online, and asked questions in a worldwide

community of designers in the fields of Service Design, User Experience and

Design Thinking, and in a Czech Service Design community. 12

Research Outcomes

Ethics in design is a topic so broad that it can hardly be summed up over a

cup of coffee. I gathered the topics my research turned up, analyzed them in

conjunction with my personal knowledge, reviewed relevant literature, and

sorted the topics out into several design principles:

Design Must Do No Harm

An overarching principle of ethical design is do no harm . Primum non nocere,

a Latin phrase that translates as “First, do no harm” has its origins in the

medical field. Its purpose is to remind healthcare personnel that it is better

to not do something, or even do nothing, if there is a risk that a potential

intervention could harm the patient. 13

In design fields, this holds true as well. Designers should map out

the potential risks a new product or service may bring. If there is a chance

that design could bring harm to anyone, then it is better to not create that

design at all.

Long Term Impact of the Design Must Be considered

Risks must be mapped out in both the short term and the long term. This

brings us back to Manzini’s notion of d isabling solutions . If we design a device

that will help us navigate through a city, will it also cause future generations

to lose their sense of direction? Manzini states that designers should move

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away from “designing to solve problems” and aim towards “designing to

enable people to live as they like and in a sustainable way.” 1

The second half of that sentence is especially important in a capitalist

society in which the products we own are thought to define our wellbeing.

Designers have a responsibility fo what products will define that wellbeing,

and for determining whether or not we really should view life in that way.

Rethinking and reducing what we need should be taken into consideration

not only for these reasons, but also for the natural heritage of our planet.

Another important long-term consideration in design is the loss of

jobs that can occur if we design a product that automates or removes parts

of a process. Removing labor from the processes which deliver services

to people can lead to the future elimination of some professions, and this

possibility should be given the strongest consideration in order to ensure

that workers are not left unemployed.

Design Should Not Dictate People’s Needs, Moreover Create New Ones

Products should not be designed in a way which makes users into slaves.

Products must be designed to perform their purposes without bringing

additional troubles into the users’ lives. If they are to really serve people’s

needs, they should not be temporary. Temporary products that only make

society addicted to them, and force them to buy newer models when the old

ones break, should be eliminated. Well designed products should be long-

lasting, sustainable artifacts that serve the society in the long run. 14

Choices That Were Made Should Be Clear to the User

A common point of view held by people involved in design is that no design is

neutral. Every object or service was designed by someone, no matter whether

or not they call themselves designers. Every one of these designed objects

and services was designed by an individual or a group of individuals whose

perception of the problem will never be neutral, and therefore the choices

made will always be affected by the designer’s perception. Design is “the

result of choices that were made” , and the choices made should always be

visible to the user.15 For example, right-handed scissors are clearly designed

for the right-handed part of the population.

Groceries and cosmetics are products in which the choices made

are often unclear to the user. Choices that were made, such as ingredients

or types of processing, should be presented clearly on the packaging. It is

the responsibility of the producer to make this information transparent to

the user, but even if the producers are honest, it can still be difficult to make

the information understood, because often it is presented in language that is

opaque to the layman.

Designs Should Not Burden Users With Hidden Responsibilities

Often, products are intentionally packaged and advertised in ways that give

consumers a false impression, in order to convince them that their choice

of purchase is having a positive impact on the world, and thus they are

acting responsibly. In an ideal scenario, companies should be taking on the

responsibility of creating a product that does not harm the environment or any

people involved. However, in many cases, a false image is created for marketing

purposes, when in fact the company is taking no responsibility whatsoever.

Recently, there was a boom in trendy kitchen and dental care

appliances made out of natural materials such as bamboo and coconut hair.

The intention was to make the products seem more “green” by replacing

plastic with biodegradable materials, knowing that the target group of users

was unlikely to be aware of the problems in disposing of products made

from combined materials. Furthermore, the conditions in which bamboo is

harvested and imported can be far more harmful to the planet than plastic.

Bioplastic is another example of how well-intended choices often

fail to achieve their intended effects simply because many people don’t know

how to dispose of them. Users attempting to reduce the harm they cause may

unintentionally cause more harm, because they were given a responsibility,

but not the knowledge needed to effectively carry out that responsibility.

Context Should be Thoroughly Investigated to Avoid Unintended Consequences

Unintended consequences is a major topic in discussions amongst service

designers. It is the job of service designers to design services which operate

not only to serve the user, but also function within an ecosystem of other

stakeholders, organizations, and communities. Designing for third world

countries often brings a high risk of unintended consequences. During my

time in Kenya I came across an instance of Malaria cases increasing due

to government donations of mosquito nets, which were meant to curb the

spread of Malaria. The rural Kenyans hadn’t been told the purpose of the

nets, and instead of hanging them above their beds, they used them for

fishing. Unfortunately, fishing takes place along rivers surrounded by bushes,

which are often full of mosquitoes.

The specific life context the people we design for is considered

crucial among design professionals. Designers have to put themselves in

the shoes of the people they are designing for, and strive to understand the

nuances of their culture, language, and habits.

Design Must Not Be Forced Upon Users - It Must Empower Them

In some cases, the design professional is not the person best suited to

understand a particular context, because immersing themself in the context

is not practical (or even possible), or because the designer is for some reason

incapable of doing it. In such cases, those potentially impacted by the change

we are trying to achieve should be invited to the table.

Theories of design activism 16 highlight that a designer is anyone

who is trying to change something for the better, and that design attitude

is something everyone can possess. 17 Design professionals are then

responsible for acting as facilitators and activators. When I was working

for a non-profit company that was attempting to address the post-harvest

loss of tomatoes in Nigeria, we realized we were not capable of designing an

aggregation center without knowing how it feels to live there. We designed

a tool, similar to a board game, that allowed the Nigerian farmers to design

the center themselves. Soon after that, the very first aggregation center for

tomatoes was built in Kano, and the locals truly owned it, because they were

given the necessary tools to own the process. 18

Design Process Must Be Ethical

There are many interactions between the user, client, and designer

throughout the design process. The managers of the process are responsible

for ensuring that all relevant ethical issues are taken into consideration. User

research, testing, and co-creation activities with the user must respect the

user’s privacy and wellbeing. Clear introductions are necessary to make sure

97\96\

everyone involved understands why they are present in the process, and

what the are expected to do. Testing activities should never make the user

feel embarrassed if they don’t reach the desired outcome. Similarly, activities

that involve creativity, such as idea generation, should not privilege some

outcomes over others. An example of bad practice would be a designer

selecting materials generated during a workshop based on his or her personal

preferences or biases. The work and activities within the design teams and

the workspace must be ethical.

When design methods are taught in boot camps and workshops,

it is crucial that the training includes basic professional ethical guidelines.

Every design educator must ensure that the processes they teach will be

replicated ethically.

Design Ethics Should Be Part of the Business Strategy

If there is a business involved in the design process (and let’s be honest,

most designs - those of the traditional meaning of design - are done because

of a client’s brief) then design ethics should be considered long before the

brief is made. They should be embedded in the business strategy, not only

for designing this particular product/service, but for all of the business’

undertakings.

Among the people I interviewed, this was the most mentioned

topic. Most professionals, designers and otherwise, do not want to create

for profit alone. They want to do work that has a higher purpose and fulfills

them professionally. But since we cannot control every aspect of the design

industry, we must put in the work to improve it ourselves. We need to

investigate the brief, craft the proposal in an ethical way, and if the client will

not accept an ethical path forward, we must say no to the project.

Iteration Doesn’t Stop After the Design is Done

Design is an iterative process that should always be going back and forth to

validate data, ideas, and prototypes, and always be zooming in on the details

to gain a deeper understanding of the topic, and zooming out to see the larger

context. But it is important to remember that to perform ethical work, this

process must continue even after the product or service is released on the

market, or into the hands of the users. Performance must be continuously

checked to make sure there are no unintended consequences. It is helpful to

define desired benchmarks before introducing a new design. If a design fails

to reach the desired benchmarks, or if unintended, harmful consequences

manifest, a redesign is necessary.

Framework

The web of ethical issues related to design is so broad, and so complicated,

that it can be disorienting. As I said previously, along with the humans

affected by the outcomes and process of our designs, we cannot forget

about the environment. The other living organisms w share our planet with,

the limits of the planet’s resources, and the amount of waste it is capable of

absorbing, must be taken into consideration. I designed a framework to help

designers remember wall the components of the system that they have to

consider when doing their work.

The 3D illustration of the framework helps to visualize the

ecosystem of all possible impacted areas. For practical use I suggest

sketching it in 2D for each actor along the vertical axis (see the explanation

of 1.axis below).

The next step is to evaluate the impact of each subject using the 2D

diagrams as a 2x2 map where the two axes map the impact in downstream

and upstream (2.axis) and in time (3.axis).

The range of the axes is a subject of discussion in the design team.

The further we anticipate how our design might affect the subjects, the better.

figure 1 The framework can be illustrated as a 3D cubical diagram. The three axes are: a list of eleven subjects for which the impacts of our work have to be considered, axis of downstream and upstream impacts, and axis of short-term and long-term impacts.

figure 2 Illustration of sketched 2D diagrams of subjects for which we evaluate upstream and downstream impact, and impacts in the short-term and long-term.

1. Axis: List of actors and subjects (1-11) that might be affected

by the design: human society, followed by the top ten environmental

challenges that designers face today: climate change, the ozone layer, air

pollution, energy use, deforestation, the oceans, clean water, chemicals and

toxins in the environment, biodiversity and land use, and waste management.

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The impacts our design may have on human beings, both in the design

outcomes and during the design process, must be taken into consideration.

But, as mentioned earlier, humans are not the only living things that matter.

The Earth must not be harmed any further. It is the only home our species

has. If we harm our home, we harm ourselves. That is why environmental

challenges are no less important. The designer must map out the risks to the

climate, water, all living species, the land, the oceans, and the forests. They

also need to be able to estimate the use of energy, the risk of pollution, and

the life-cycle of the product/service. The top ten environmental challenges

were inspired by work in the book Green to Gold . 19

2. Axis: Upstream to Downstream. Etsy’s and Winston’s analysis

called AUDIO proposes the challenges that need to be taken into account

when designing a business to be more sustainable. The analysis can be

helpful in mapping out the upstream and downstream aspects of a business’

impact, defining issues, and articulating opportunities. 19

The upstream impact is everything from the process of designing

a product, to sourcing materials, supplier operations, manufacturing, labor,

transportation, and delivery. The farther upstream we consider our decisions,

the better thought through the design will become.

Downstream is all about the user. What will the user do with the

product? How will they behave when using the service? What will be the end

of the life of the product? And what will happen after a potential closure of a

service? We must review each actor and map out the potential harm for them.

Mapping out the streams is difficult, takes time, and requires more

than just a designer. Experts from various fields, and personnel who actually

perform the activities along the upstream axis, must be invited to brainstorm

possible impact.

3. Axis: Short-Term to Long-Term Impact. Mapping out the short-

term and long-term impacts can be even harder than mapping upstream and

downstream. The task requires well-informed intuition and a deep capacity to

forecast trends. For each actor we must consider how our design will affect

them in time. What will be the immediate impact? User reactions can be

assessed by testing early prototypes and iterating them continuously. For the

other actors, contextual research must be conducted and assessed by experts.

The further ahead the timeline is sketched out, the better. I

suggest extending the line at least two generations ahead, or even into

the next century. Foreseeing the future might seem unrealistic, but there

is a whole profession dealing with forecasting trends and scenarios, and

planning ahead for businesses. Keeping up with everything going on in the

world - in technology, politics, economics, and culture - is necessary for all

successful businesses.

In many cases some cells of the 2D maps might be overlapping. We

can use it to validate previous hypotheses and insights. The 2D maps should

also remain with the design team for the entire design journey, even after

the release. The performance of the designed product or service should be

continuously reviewed.

Conclusion

Design professionals are only a small fraction of the human race, and a

smaller still fraction of the world we live in. Who are we to decide what really

is optimal? Who are designers to say what is really ethical, when perceptions

of right and wrong vary so much from culture to culture, and person to person,

and when we humans are only one part of a vast planetary ecosystem?

Designing is an act of changing the state of something unsatisfactory

into something better. From thousands of definitions of good design, I

personally believe good design should be functional, ethical, aesthetically

pleasing, and collaborative.

The title of this paper states that one day, we will all become

designers. We all go through design steps hundreds of times a day without

realizing it. In the future, we may see a blurring of the design profession into

the everyday lives of more people, and into the philosophies of different

organizations. Creativity and problem solving are expected to be among

the top skills of the future. We mustn’t forget that the most powerful

characteristic of design is collaboration and the synergy of different minds,

points of view, perceptions, opinions, and feelings.

Ethical guidelines evolve in the same way the definition of wellbeing

changes over time. Design ethics should be a subject of dialogue in any

collaboration aiming to enact change. Ethics and aesthetics should work

side by side. Aesthetics surely help humans adapt to new innovations. It

is our humanity that makes us feel attracted to visually appealing things.

philosopher Alain de Botton said “Good design matters because it encourages

our better selves.” On his YouTube channel, he uses visual prompts to explain

how the appearance of our surroundings can change the way we feel. It

is no secret that bright blue sky encourages a good mood, whereas grey,

cold, and imposing mountains of office buildings can make us feel glum. 20

Good design can never exist without being attractive to the user, and that

attraction should be built upon both ethics and beauty.

Similarly, aesthetics are defined over time. What we consider

visually appealing is the result of a social construct. It is no coincidence that

many of the most iconic and trendsetting designers started out as artists.

We cannot forget that design has some of its roots in the arts.

Art has a powerful ability to articulate potentially disturbing topics,

and that’s what makes it a excellent fuel for activism. Design should maintain

and nourish this activist function, and present its own ethical guidelines in an

aesthetic, visually appealing manner. That is the only wa society will be able

to digest them, identify with them, and act upon them.

Notes & Bibliography

1 Manzini, E. (n.d.). Design, ethics and sustainability (pp. 1-3, Rep. No. 28.8.06). DIS-Indaco, Politecnico di Milano.

2 Margolin, Victor. The Politics of the Artificial: Essays on Design and Design Studies. Chicago: The University of Chicago Press, 2002.

3 International network for Design for Social Innovation and Sustainability, see https://www.desisnetwork.org/

4 Illich, I., 1973. Tools For Conviviality. New York: Marion Boyars in Margolin, Victor. The Politics of the Artificial: Essays on Design and Design Studies. Chicago: The University of Chicago Press, 2002.

5 Papanek, Victor. Design for the Real World. London: Thames & Hudson, 2019.

6 Churchman, C. West. “Guest Editorial: Wicked Problems.” Management Science 14, no. 4 (1967): B141-142.

7 Buchanan, Richard. “Wicked Problems in Design Thinking.” Design Issues 8, no. 2 (1992): 5. https://doi.org/10.2307/1511637 in Margolin, Victor. The Politics of the Artificial: Essays on Design and Design Studies. Chicago: The University of Chicago Press, 2002, quoting

8 Lynn Shostack’s publications in European Journal of Marketing: “How to Design a Service.” (49–63), and Harvard

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Business Review: “Design Services that Deliver.” (133-139)

9 Szczepanska, Jo. “Design Thinking Origin Story plus Some of the People Who Made It All Happen.” Medium. Medium, June 2, 2019. https:/ medium.com/@szczpanks/design-thinking-where-it-came-from and-the-type-of-people-who-made-it-all-happen-dc3a05411e53.

10 “Aplikovaná Etika.” Wikipedia. Wikimedia Foundation, June 5 2020. https://cs.wikipedia.org/wiki/Aplikovan%C3%A1_etika.

11 Je důležité zdůraznit, že slovo „kdokoli” je zde použito obrazně, jelikož ne každý na světě má přístup k internetu a ne každý na světě umí číst

12 Facebookové skupiny: “Service Design, Design thinking, Service Innovation, UX, CX” a “Service design CZSK”

13 “Primum Non Nocere.” Wikipedia. Wikimedia Foundation, April 27, 2020. https://en.wikipedia.org/wiki/Primum_non_nocere.

14 Walker, Stuart. Sustainable by Design: Explorations in Theory and Practice. London: Earthscan, 2007.

15 Riikka Jää, May 15, 2020 (13:59), Sjef Sjef May 15, 2020 (15:43), comments on “...what ethics in design mean to you?..”, in Facebook group “Service Design, Design thinking, Service Innovation, UX, CX

16 Fuad-Luke, Alastair. Design Activism: Beautiful Strangeness for a Sustainable World. Sterling, VA: Earthscan, 2009.

17 Lazslo Mohogoly Nagy, Transcript “Conference On Industrial Design: A New Profession”, New York City, 1946, Museum of Modern Art Library, 213, in Margolin, Victor. The Politics of the Artificial: Essays on Design and Design Studies. Chicago: The University of Chicago Press, 2002.

18 Projekt ve spolupráci s Pyxera Global a SCAD (Savannah College of Art and Design) in 2017, cílící na snižování posklizňové ztráty rajčat v Nigérii

19 Esty, Daniel C., and Andrew S. Winston. Green to Gold: How Smart Companies Use Environmental Strategy to Innovate, Create Value, and Build Competitive Advantage. Hoboken, NJ: Wiley, 2009.

20 Alain de Botton. School Of Life YouTube channel. “Why Design Matters.” YouTube video, see https://www.youtube.com/watch?v=J6LtABooE2c

“If all the people living on this planet would seek the product-based idea of wellbeing it would end up with a huge combination of ecological catastrophe because of all the people that are able to have the productsand at the same time a social one caused by those who cannot have them.”Ezio Manzini

(Volný překlad autorky: Pokud by všichni lidé žijící na této planetě určovali míru své spokojenosti podle vlastnictví produktů, došlo by ke kombinaci obrovské ekologické katastrofy, kvůli lidem, kteří si produkty mohou dovolit, a sociální katastrofy těch, kteří si je dovolit nemohou.)

Designéři určují, co znamená být spokojený

Průmyslový design, tak jak ho nyní známe, se zrodil během průmyslové re-

voluce v polovině osmnáctého století. Industrializace a rozmach mechanizo-

vané výroby způsobily, že na trhu chyběla profese, která by pomohla rychle

a levně navrhovat vyráběné předměty. Způsob, jakým se vytvářely a vyrá-

běly věci, tehdy zažil úžasné zlepšení, výroba byla najednou rychlá a snadná.

Společnosti se také zalíbila myšlenka rychlé expanze, navíc industrializace

umožnila, že produkty, které byly do té doby přístupné pouze privilegovaným,

byly najednou dostupné pro všechny. Luxusní předměty, které si mohli dovo-

lit jen ti nejbohatší, byly náhle dosažitelné. V dostupnosti produktů tak došlo

k jakési demokratizaci.

Designéři se chopili své nové role poctivě. Vynaložili veškeré své

úsilí na to, aby navrhované věci byly co možná nejlevnější - čím levnější, tím

lepší a dostupnější. Vlastnictví některých věcí také bylo známkou určitého

statusu, což se lidem začalo líbit, čím více majetku člověk vlastnil, tím byl

šťastnější. Průmysloví designéři však dokázali ještě více. Brzy si uvědomi-

li, že výroba na běžícím pásu otevírá dveře navrhování vizuálně rozmanitých

věcí. Designérská profese se stala konkurenceschopnou. Designéři najednou

dělali co mohli, skicovali dnem i nocí, aby vytvořili ty nejkrásnější stoly, pera,

kamna a další věci denní potřeby. A spotřebitelé, toužící po krásných věce-

ch, dřeli ve svých zaměstnáních, aby si je mohli dovolit. Čím hezčí věci člověk

vlastnil, tím hezčí byl jeho domov, čím hezčí byly jeho šaty, tím lépe byl vní-

mán ve společnosti.

Definice a vnímání toho, co znamená být spokojený, se v čase mění.

Průmyslový design se stal disciplínou, která udává atraktivitu výrobků. De-

signéři nabyli privilegium a dostali tak příležitost podílet se na definování

toho, co pro člověka znamená být spokojený. Stali se těmi, díky nimž společ-

nost zahrnula majetek do definice štěstí. Nabytím této obrovské zodpověd-

nosti získali břemeno rozhodování o tom, co bude v budoucnu udávat definici

štěstí a blahobytu.

Designéři tehdy pomohli vytvořit podmínky k pohodlnému životu. Je-

jich cíl byl zřejmý - díky novému trendu masové výroby vydělávali peníze tím,

že vyráběli výrobky, které uspokojily lidi, kteří si tyto výrobky dříve nemohli

dovolit. To bylo věru lákavé. Produktů se prodávalo čím dál víc, poptávka byla

nekonečná. Štěstí se stalo uchopitelným, čím více člověk vlastnil, tím lépe se

cítil. ”Materialism became integral to notions of happiness.” ¹ (Volný překlad

autorky: Materialismus se stal nedílnou součástí představ o štěstí.)

Bohužel se tím designéři stali hnací silou neudržitelné definice

štěstí a spokojenosti, protože myšlenka lidského zlepšování se, byla pev-

ně vázána na vývoj produktů. Tony Fry to ve své knize Design Futuring: Sus-

tainability, Ethics, and New Practice nazývá jako expansion model (expanzní

model). Trend spotřeby a výrobky plnící svou funkci na trhu se staly znám-

kou ekonomické prosperity. V tomto modelu je měřítkem rozvoje trh, který

je neustále zatížen produkty. Výrobci jsou motivováni poptávkou i konku-

rencí a jsou posedlí vynalézáním novějších a novějších verzí těchto produ-

ktů, aby mohli uspět a ohrozit své konkurenty na trhu. Starší, méně módní,

výrobky opouštějí trh nejen kvůli nízké kvalitě, ale také proto, že jsou po-

važovány za zastaralé.2

Výrobky se nově navrhují tak, aby byly snadno nahraditelné nový-

mi verzemi. V mnoha případech výrobci dokonce záměrně vyrábí výrobky tak,

aby se snadno rozbily. Tyto faktory vedou spotřebitele k tomu, aby byli nuce-

ni kupovat stále novější verze produktů, které zbytečně nabývají nekonečný-

ch aktualizací. Trend navíc diktuje, že uživatelé kupují nové produkty, jakmile

ty stávající už „nejsou v módě“. “The user is forced to participate through the

regular upgrading of existing ones and through buying new ones”¹ but “new

products today are wasteful, unnecessary versions of the existing ones.”¹ (Volný překlad autorky: Uživatel je nucen neustále upgradovat stávající pro-

dukty a kupovat nové, přitom nové výrobky jsou dnes zbytečnými verzemi

těch už existujících.)

Technologické inovace jsou patronem všech expanzních inženýrů,

kteří věří ve zlepšování lidských životů prostřednictvím materiálního zboží a

jeho funkcí. V době expanze po průmyslové revoluci se technické inovace vy-

víjely exponenciálně. Designéři se stali moderními vynálezci, což v některých

případech neskončilo zcela šťastně. Vznikaly nové produkty, které přinášely

komfort, o kterém se lidem dosud ani nesnilo. Vznik těchto produktů pak

formoval trh zcela novým směrem. Některé produkty daly za vznik novým

aktivitám, které přinesly nové problémy a potřeby nových zjednodušování

těchto aktivit. V reakci na to byly vymýšleny další produkty, cílící na zjedno-

dušování problematických situací v běžném životě.

Rozvoj technologií zjednodušil některé doposud komplikova-

né úkoly, dokonce nám umožnil provádět některé činnosti, které byly do té

doby prováděny jen specialisty. Vysílačky byly původně určené pro použití

v naléhavých případech doktory ve službě, přitom mobilní telefony jsou pro

nás dnes běžným a nutným doplňkem. Možnost kontaktovat se navzájem,

kdykoli se nám zlíbí, a to instantně i na vzdálenosti těžko fyzicky překonatel-

\Až Jednou BudemeVšichni Designéři:Etická a Estetická Symfoniev Designu

Eliška Skarolková[email protected]Česká Republika


cz

1 “If all the people living on this planet would seek the product-based idea of wellbeing it wouldend up with a huge combination of ecological catastrophe because of all the people that areable to have the products and at the same time a social one caused by those who cannot have them.”Ezio Manzini

(Volný překlad autorky: Pokud by všichni lidé žijící na této planetě určovali míru své spokojenosti podle vlastnictví produktů, došlo by ke kombinaci obrovské ekologické katastrofy, kvůli lidem, kteří si produkty mohou dovolit, a sociální katastrofy těch, kteří si je dovolit nemohou.)

2 “The rate of product innovation, particularly in electronics, continues to accelerate, and users are conditioned to participate in the process through the regular upgrading of existing products and the acquisition of new ones.”Victor Margolin

(Volný překlad autorky: Míra inovace produktů, zejména v elektronice, se stále zrychluje a uživatelé jsou povinni se na procesu podílet pravidelným upgradováním stávajících produktů a pořizováním nových.)

105\104\

né, vytvořila novou potřebu po něčem, co pro člověka není nezbytně nutné

pro přežití, po něčem, co se po stovky let zdálo nepředstavitelné.

Designéři se snažili zlepšovat kvalitu života. Některé produkty při-

nesly do domácností vylepšení, která byla do té doby dostupná jen na veře-

jných místech. Kdysi byla hudba k poslechu jen na koncertech, prádlo se

pralo v prádelnách, a k tisku bylo třeba velkých, stacionárních strojů, kte-

ré nebylo možné mít doma. 2 Díky technologiím můžeme dnes spoustu věcí

dělat doma sami. Tato vylepšení pak poskytla lidem více volného času a větší

míru pohodlí při každodenních záležitostech.

Ezio Manzini, italský akademik, designer a zakladatel DESIS 3, předs-

tavil v dialozích o etice v designu pojem disabling solutions (oslabující řeše-

ní). Disabled solutions jsou inovace, které shlukují znalosti a dovednosti do

zařízení, která plní určité úkoly místo nás. Tyto inovace prováděním činnos-

tí za nás způsobují, že zapomínáme na naše přirozené schopnosti. Myšlenka,

že blahobyt znamená minimalizaci osobní angažovanosti a vynaložení co ne-

jmenšího fyzického úsilí na splnění úkolu v nejkratším možném čase, se ale v

blízké budoucnosti nutně musí změnit.¹ U některých technologických inovací lze pozorovat jev nazývaný ra-

dical monopoly4 (radikální monopol). Radical monopoly vzniká, když inovace

způsobí, že člověk nemá jinou možnost než ji využít, pokud chce plnohod-

notně fungovat ve svém životě a ve společnosti. Příkladem jsou města, která

byla navržena tak, že jediným rozumným způsobem, jak se dostat z bodu A

do bodu B, je použít auto.

Dalo by se říci, že jsme se vzdali svých přirozených schopností a

prodali je trhu. Pokud je chceme získat zpět, musíme jít a koupit si jejich ma-

terializované verze – chytré produkty. Pravdou však je, že my si je nekupuje-

me zpět - pouze si je zapůjčujeme. Brzy se rozbijí a my musíme jít a znovu si

koupit jejich nové verze. Vyměnili jsme přirozené schopnosti a samostatnost

za závislost na tom, co je na prodej v obchodech. A nezbývá nám než spoléhat

na technologie, které jsou na prodej.¹

Rozmach designových disciplín

Společnost si začala uvědomovat, že zdroje naší planety jsou konečné. Pro-

duktový design, který se jevil jako aktivně pracující motor spotřebovávající

přírodní zdroje a znečišťující životní prostředí, se dočkal své kritiky. Victor Pa-

panek, designer a profesor, vydal v roce 1972 knihu Design for the Real World,

z níž pochází jeho známý výrok “by creating whole new species of perma-

nent garbage to clutter up the landscape, and by choosing materials and pro-

cesses that pollute the air we breathe, designers have become a dangerous

breed.”5 (Volný překlad autorky: Vytvářením nového druhu odpadu zahlcují-

cího krajinu a používáním materiálů a procesů, které znečišťují vzduch, který

dýcháme, se designéři stali nebezpečným druhem.)

Jak se designéři začali probouzet ze senzace průmyslové revolu-

ce, představa designu jako umělecké disciplíny a disciplíny dávající tvar před-

mětům, se začala měnit. Papanek a další designéři začali hledat alternativy k

průmyslovému navrhování produktů pro konzumní společnost. Mezi novými

přístupy se objevil například low-tech design, design pro zdravotně postiže-

né a design zabývající se problematikou životního prostředí. Design se začal

proměňovat z disciplíny navrhující primárně spotřebního zboží v disciplínu,

která řeší problémy.

Designéři a teoretici designu začali mluvit o skutečném smyslu de-

signu jakožto kreativní profese. Objevil se pojem wicked problems (podlé pro-

blémy). Horst Rittel, teoretik designu, definoval wicked problems: “A class

of social system problems which are ill-formulated, where the information

is confusing, [there are] many clients and decision makers with confusing

values, [and] the ramifications in the whole system are thoroughly confusing.“

(Volný překlad autorky: Sociálních problémy, které jsou špatně formulované,

při kterých dochází k informačnímu zmatku, kde je mnoho lidí s velkou zo-

dpovědností, jejichž hodnoty jsou matoucí, a důsledky celého procesu jsou

rovněž matoucí.) Jinými slovy, problémy sociální nebo kulturní, které je nes-

mírně obtížné nebo nemožné vyřešit kvůli protichůdným informacím, počtu

zúčastněných lidí a názorů, velké ekonomické zátěži a vzájemnému propoje-

ní těchto problémů s dalšími souvisejícími problémy.6 Mezi příklady těchto

typů problémů patří chudoba, udržitelnost, rovnost, zdraví a wellness. Tvrdi-

lo se, že designeři, kreativní jednotlivci, kteří mají zkušenosti s porozuměním

uživatelů a mají schopnost uvažovat komplexně, jsou zvláště schopni tyto

problémy zacílit.

Victor Margolin, ve své knize The Politics of the Artificial: Essays

on Design and Design Studies, představuje tzv. design čtvrté domény, který

by se měl stát novým polem působnosti designérů. Design čtvrté domény

lze chápat jako kombinaci tří tradičních domén designu. První doménou je

vizuální a grafická komunikace. Druhou doménou jsou materiální věci, jako je

produkt, průmyslový design a architektura. Třetí doménou je design služeb

(service design), aktivit a interakcí.7

Termín service design (design služeb) poprvé použila Shostack v 80.

letech. Hovoří o něm jako o disciplíně posouvající se za hranice tradičního

marketingu a managementu.8 Mnoho lidí si začalo uvědomovat, že je třeba

posunu od produktové ekonomiky, která zahlcuje planetu věcmi, k ekonomi-

ce služeb. Představa, že by člověk mohl žít plnohodnotný život bez toho, aby

potřeboval vlastnit věci, jež mu to umožňují, byla také zárodkem myšlenky o

sdílené ekonomice. K tomu, abychom mohli provádět činnosti běžného živo-

ta, nutně nepotřebujeme produkty. Funkci produktů mohou nahradit služby,

které nám umožní tyto produkty používat bez potřeby jejich vlastnictví. Tato

třetí doména designu se v posledních několika desetiletích stala všeobec-

ně známou, zažívá boom a v určitých směrech se považuje za následníka

dříve nezbytného, klasického řemesla designu navrhujícího produkty denní

potřeby. To je do velké míry ovlivněno a podpořeno rozvojem digitalizace.

Mnoho designérů, kteří začali svou kariéru jako průmysloví designéři, přešli

do těchto „nehmotných“ disciplín designu: UX designu, designu služeb a de-

signu systémů.

Design čtvrté domény má však přesah ještě dále. Jde o navrhování

produktů a služeb se zohledněním komplexních systémů. Je to navrhování

komplexních řešení pro život, práci, hraní a učení.7 Design čtvrté domény

můžeme chápat jako kombinaci tří předchozích domén designu, obohacenou

o navrhování systémů.

Uvědomění, že firmy často vytvářejí produkty a služby, které nejsou

schopné uspokojit skutečné potřeby lidí, zplodilo další designovou disciplí-

nu - Design Thinking. Design Thinking je kreativní přístup k řešení problémů,

vycházející z toho, že na začátku je nutné jasně formulovat zadání, které

musí vycházet ze skutečného, pozorovaného problému. Design Thinking a

Human Centered Design (Design zaměřený na člověka) proslavila firma IDEO,

zaměřující se na design a inovace, a Stanford d.school.9

Pro účely tohoto článku se budu držet termínu Human Centered De-

sign. Metodika Human Centered Design má jasně definovaný proces, který je

snadno proveditelný, a zajišťuje, že lidé, kteří často nejsou designéry z povolání,

jsou schopni projít iterativními fázemi designového způsobu myšlení. To, že Hu-

man Centred Design umožňuje různým lidem z různých oborů sejít se u jednoho

stolu a tvořit společně, aniž by museli být profesionálními designéry, je jednou

z největších výhod tohoto přístupu. Podobnou filozofii můžeme pozorovat u

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metodologie Design Thinking, nebo v designu služeb. Ty jsou těmi nejznámě-

jšími designovými obory, které překračují hranice designu jakožto kreativního

umění, a obohacují ho o metody projektového řízení a managementu.

ETIKA V DESIGNU

Když hovoříme o etice, je to obvykle proto, že přemýšlíme o dopadu naší

činnosti, přímo či nepřímo, na jinou osobu v rámci nějaké akce, experimen-

tu, nebo události. Aplikovaná etika bere v úvahu morální aspekty toho, jak

zacházíme s jednotlivcem či skupinou jednotlivců.10 V metodice Human Cen-

tered Design je etika často diskutovaným tématem.

Limity designu zaměřeného na člověka

Přes všechny své výhody má i Human Centered Design své hranice. Za dobu

svého působení ve světě designu, vnímám kritiku na téma Human Centered

Designu především v tom, že postrádá inkluzivitu. Dobrý design by měl být

inkluzivní. Design zaměřený na člověka má za cíl postavit člověka do středu

všeho dění. Prostřednictvím etnografického výzkumu designéři organizují indi-

viduální rozhovory, aby zjistili, jaké jsou skutečné problémy jednotlivce, co ho

trápí, a co všechny jeho starosti způsobuje. Cílem je navrhnout inovaci přesně

přizpůsobenou jeho potřebám. Tato technika je velmi mocná. Techniky Human

Centered Designu však mohou být i velmi riskantní, zejména pokud jsou brány

na lehkou váhu a nejsou řádně promyšlené a zohledněné odborníkem.

Rozmach veřejně dostupných manuálů (Design kits) umožnil mnoha

společnostem a jednotlivcům používat designové techniky ve své vlastní

práci. Vzdělávání v oblasti designu bylo demokratizováno a nyní můžeme vi-

dět spousty designových kurzů, prezentujících se stylem, že designové my-

šlení lze naučit na dvou či třídenních workshopech. Do jisté míry je to pravda.

Techniky Human Centered Design jsou veřejně přístupné a záměrně dosta-

tečně srozumitelné, aby je mohl použít kdokoli.11 Právě fakt, že tyto princi-

py jsou tak jednoduše přístupné však může někdy vést k vážným problémům.

Dva nejvíce diskutované problémy tohoto oboru jsou environmen-

tální udržitelnost a lidská nerovnost. Zaměříme-li design výhradně na člo-

věka a na jeho bezprostřední potřeby, aniž bychom si byli vědomi důsledků

svých činů, může to vést ke katastrofě, protože metodika Human Cente-

red Design neobsahuje uvažování o širších ekologických kontextech. Výroba

produktů dokonale přizpůsobených potřebám uživatelů může být škodlivá,

pokud nezohledníme procesy, materiály, všechny zúčastněné subjekty a ži-

votní cyklus výrobku. Environmentální hlediska by měla být považována za

integrální faktor v každém projektu. Naše planeta má jen omezené množst-

ví materiálních zdrojů, které můžeme využít, a je domovem milionů jiných ži-

vočichů. Nesmíme zapomenout, že postavení dálnice, která navždy rozdělí a

poničí lesy a louky, bude mít nenapravitelný dopad na jejich obyvatele. Nes-

míme zapomenout, že uživatelé budoucí dálnice, řidiči a jejich spolucestující,

nejsou jediní zúčastnění uživatelé. Hektary zeleně, které budou zničeny, jsou

domovem fauny a flóry, bez níž by planeta nepřežila. Zvířata a rostliny jsou

také uživatelé.

Pokud jde o lidskou nerovnost, není velkým tajemstvím, že design

je v mnoha případech privilegiem vyhrazeným pro bohatší část společnosti.

To souvisí i s tím, že samotná výuka designu je často neúměrně drahá, kvůli

tomu dochází ke znevýhodnění množství lidí. Zhruba devadesát procent svě-

tové populace je v nevýhodě už jen proto, že v jejich komunitách je jen vel-

mi málo designérů. Tyto faktory vedou ke strukturální nerovnováze. Když

zaměříme design jen na jednoho člověka, či skupinu lidí, je snadné neúmy-

slně přehlédnout a vyloučit jiné skupiny. Služby navržené s hlubokým po-

rozuměním jednoho kontextu nemusí vyhovovat komunitám s nižšími příjmy,

jejichž životy formují velmi odlišné okolnosti. Nábytek vytvořený v západním

světě se zohledněním ergonomických standardů jedné rasy, přestože byl na-

vržen pro lokální použití, nebude nikdy zcela inkluzivní.

Vzhledem k výše popsaným otázkám je nutné přehodnotit etiku v

designu. Designéři musí rozšířit své etické normy nad rámec humanismu. Bu-

chanan v teorii designu čtvrté domény, “designers should be exploring their

role in sustaining, developing, and integrating human beings into a broader

ecological and cultural environment.”7 (Volný překlad autorky: Designéři by

měli rozvíjet svou činnost k vzniku, vývoji a integraci lidských jedinců do roz-

sáhlejšího ekologického a kulturního prostředí).

FRAMEWORK PRO ETIKU V DESIGNU

Pro účely této práce jsem se rozhodla provést experiment. Prozkoumala

jsem přístup k otázkám etiky u designérů v mém okolí a sestavila jsem sché-

ma, které zohlední etické oblasti a pomůže designerům k tomu, aby se v nich

orientovali. Framework popisuji na následujících stránkách.

Použité metody výzkumu

Jako designéři při své práci většinou nevíme, co na nás v projektu čeká za

kreativní dobrodružství. Na začátku se často cítíme ztraceni v rozsahu za-

dání projektu. Jediným způsobem, jak se s tím vypořádat, je naučit se si tuto

skutečnost užívat. Prototypování v raných fázích projektu pomůže najít ces-

tu ven. V designu služeb často ze začátku používáme jen klíčová slova a ptá-

me se lidí kolem nás, co si s nimi spojují. Na této výzkumné technice je dle

mého názoru něco téměř uměleckého – je to jako házení barvy na bílé plát-

no. Bez plánů nebo záměrů, jen čekáme, co z průzkumu vyleze, a necháváme

ho vést naše další kroky.

Pro tuto studii jsem se rozhodla použít velmi jednoduché výzkumné

techniky. Zeptala jsem se lidí kolem sebe, co si o tématu myslí. Vedla jsem ro-

zhovory s designéry i s lidmi z jiných oborů, a ptala se jich na to, co pro ně zna-

mená etika a jakým způsobem ji aplikují při své práci. Zaměřila jsem se zejména

na profesionály z různých oborů - designu, sociologie, marketingu, antropolo-

gie, byznysu a IT. Moji respondenti byli jednak lidé, které znám, a také lidé ze so-

ciálních médií. Ptala jsem se online v celosvětové komunitě designérů v oblasti

designu služeb, UX a Design Thinking a také v české komunitě designu služeb.12

Výsledky výzkumu

Etika v designu je téma tak široké, že by se sotva dalo popsat v jednom rozho-

voru. Dala jsem dohromady témata, která se objevila v diskuzích s respon-

denty, a ty jsem následně analyzovala za pomoci mých osobních znalostí a

relevantní literatury. Jejich shrnutí jsem zpracovala do několika design prin-

cipů (Design principles).

Design nesmí uškodit (Do No Harm)

Hlavním principem etického designu je Do No Harm. Primum non nocere, la-

tinská fráze, která se překládá jako „Za prvé, neubližujte“ (“First, do no harm”),

pochází z medicíny. Jejím účelem je připomenout zdravotnickému personálu,

že je lepší něco neudělat, nebo dokonce neudělat nic, pokud existuje riziko, že

by potenciální zásah mohl pacientovi ublížit.13

Stejně to platí v designu. Designéři by měli zmapovat možná rizika,

která může nový produkt nebo služba přinést. Pokud existuje šance, že by

výsledek mohl někomu ublížit, pak je lepší raději nic nenavrhovat, nevytvářet.

109\108\

Možné dlouhodobé dopady musí být brány v potaz

Rizika musí být zmapována jak z krátkodobého, tak z dlouhodobého hlediska.

To nás přivádí zpět k Manziniho disabled solutions. Navrhneme-li zařízení,

které nám pomůže pohybovat se a orientovat se ve městě, způsobí to, že

budoucí generace nadobro ztratí orientační smysl? Manzini prohlašuje, že

designéři by se neměli zabývat jen designem jakožto řešením problémů, ale

raději svou činnost ubírat směrem k designu, jež podporuje přirozené schop-

nosti lidí své problémy řešit. Aby lidé žili tak, jak jim to vyhovuje, a zároveň

udržitelným způsobem.1

Druhá polovina této věty je obzvlášť důležitá v kapitalistické společ-

nosti, v níž produkty, které vlastníme, mají definovat naši spokojenost. Designéři

nesou odpovědnost za to, že některé inovace mohou v budoucnu spokojenost

člověka definovat, a měli by se zamýšlet nad tím, zda bychom se skutečně měli

ubírat tímto směrem. Přehodnocování toho, co potřebujeme, by mělo být zoh-

ledněno nejen z těchto důvodů, ale také kvůli udržitelnosti naší planety.

Dalším důležitým aspektem, kterým by se designéři měli zabývat z

dlouhodobého hlediska, je potenciální ztráta pracovních míst, ke které může

dojít, pokud navrhneme produkt, který automatizuje, nebo odstraní část ně-

jakého procesu prováděného člověkem. Vyloučení lidské práce z některých

procesů, jejichž cílem je poskytovat služby druhým lidem, může vést k even-

tuální eliminaci některých profesí. Této skutečnosti by měla být věnována

pozornost. Mělo by být zabráněno tomu, aby kvůli našemu výmyslu někdo

skončil nezaměstnaný.

Design by neměl diktovat potřeby lidí, a už vůbec by neměl vyt-vářet nové potřeby

Výrobky nesmí způsobovat, že na nich lidé budou závislí. Inovativní produ-

kty musí být navrženy tak, aby plnily své účely, nesmí však do života uži-

vatelů přinášet další a hlavně nové, s nimi spojené, potíže. Produkty, které

mají skutečně sloužit potřebám lidí, musí být kvalitní a dlouhotrvající. Záro-

veň by měly být eliminovány produkty, které jsou záměrně spotřební a kte-

ré nutí uživatele kupovat jejich novější modely. Dobře navržené výrobky by

měly být dlouhodobými a udržitelnými artefakty, které budou dlouhodobě

sloužit společnosti.14

Učiněná designérská rozhodnutí by měla být pro uživatele transparentní

Společným názorem designérů zapojených do výzkumu pro účely této práce,

je to, že žádný design není neutrální.15 Každý objekt nebo služba byla někým

navržena, bez ohledu na to, zda se ten člověk nazývá nebo nenazývá desig-

nerem. Každý z těchto navržených objektů a služeb byl navržen jednotliv-

cem nebo skupinou jednotlivců, jejichž vnímání problému bude vždy do jisté

míry subjektivní. Rozhodnutí, která designér učiní během své práce, budou

vždy ovlivněna jeho osobním vnímáním světa. Design je „výsledkem učiněný-

ch rozhodnutí”16 a tato rozhodnutí by měla být pro uživatele vždy transpa-

rentní. Například, nůžky pro praváky jsou jasně navrženy pro část populace

používající primárně pravou ruku. Jsou navrženy tak, že je to (téměř) na první

pohled jasné a nestaví to nikoho do nekomfortní situace, ve které nedokáže

nůžky použít.

Naopak potraviny a kosmetické výrobky jsou příkladem toho, kdy ro-

zhodnutí, která byla učiněna, nejsou pro uživatele často dostatečně trans-

parentní. Složení a způsoby zpracování by měly být na obalu jasně uvedeny.

Učinit tyto informace transparentními pro uživatele je odpovědností výrob-

ce. Často se bohužel stává, že i když jsou výrobci čestní, informace jsou pro

běžné uživatele nedostatečně srozumitelné, jelikož nejsou prezentovány v

jazyce, kterému by rozuměl i lajk.

Navržené inovace nesmí uvalovat na uživatele odpovědnost, o které sám netuší

Výrobky jsou často záměrně propagovány způsobem, který spotřebitelům

dává falešný dojem, že jejich nákup bude mít pozitivní dopad na svět, a že

jejich používáním jednají odpovědně vůči životnímu prostředí či společnos-

ti. V ideálním případě by to měl být výrobce, kdo převezme odpovědnost za

vytvoření produktu, který nepoškodí životní prostředí ani jakékoli osoby. V

mnoha případech jsou však pozitivní dopady produktů pouze senzací pro

marketingové účely a skutečnost je taková, že používání i samotná existence

produktu žádný pozitivní dopad nemá.

Poslední dobou můžeme vidět spoustu moderních kuchyňských a

dentálních pomůcek vyrobených z přírodních materiálů, jako například bam-

bus, nebo kokosové vlákno, kombinovaných s kovovými částmi. Záměrem

bylo, aby výrobky vypadaly „zeleně“ výměnou plastu za biologicky rozložitel-

né materiály. Bohužel, cílová skupina uživatelů nebude pravděpodobně znát

detaily ohledně likvidace výrobků vyrobených z kombinovaných materiálů.

Stejně tak, využítí například bambusu, který musí být do některých zemí svě-

ta dovezen, může být pro planetu mnohem škodlivější než plast.

Bioplasty jsou dalším příkladem toho, jak dobře zamýšlená rozhod-

nutí často nedosáhnou zamýšlených účinků, a to jednoduše proto, že mnoho

lidí neví, jak s nimi nakládat. Uživatelé, kteří se naivně snaží snížit škody spo-

jené se svým konáním, tak mohou neúmyslně způsobit dokonce větší škody.

Používáním nových produktů jim byla svěřena nová odpovědnost, často však

nikoli znalosti potřebné k efektivnímu naplnění této odpovědnosti.

Kontext by měl být důkladně prozkoumán, aby nedošlo k ne-zamýšleným důsledkům

Neočekávané, neplánované důsledky práce jsou jedním z hlavních témat

diskusí mezi designéry služeb. Jejich úkolem je navrhovat služby, které slou-

ží uživatelům, ale fungují zároveň v ekosystému jiných zúčastněných stran,

organizací a komunit. Například navrhování pro země třetího světa s sebou

často přináší vysoké riziko nezamýšlených důsledků. Během mého pobytu

v Keni jsem se setkala s tím, že v důsledku vládních dotací moskytié vzros-

tly případy malárie. Venkovským Keňanům nebyl sdělen účel a způsob jejich

používání, a obyvatelé je místo toho používali k rybolovu. Bohužel, Keňané

chodívají lovit ryby k řekám, které jsou často obklopeny keři a ty jsou právě

ohnisky výskytu komárů.

Zohlednění specifických životních podmínek lidí, pro které navrhu-

jeme, je tak mezi odborníky v designu považováno za stěžejní. Designéři se

musí umět vcítit do životní situace lidí, pro které navrhují, a snažit se co nejví-

ce porozumět jejich kultuře, jazykům a zvykům.

Design nesmí uživatele nutit - naopak je musí podporovat

V některých případech není designér tou nejvhodnější osobou pro správné

navnímání konkrétního kontextu. Může to být způsobeno nedostatečným vý-

zkumem, který v některých situacích může být obtížně proveditelný, či dokon-

ce z nějakého důvodu nemožný. V takových případech by měli být ti, kterých

se potenciální navrhovaná změna dotkne, přizvání k designovému procesu.

Teorie design aktivismu (design activism)16 zdůrazňují, že designé-

rem je kdokoli, kdo se snaží nějakou situaci změnit k lepšímu, a že designový

111\110\

přístup a pohled na svět může mít každý17 Profesionální designéři jsou pak

postaveni do pozice facilitátorů designové tvorby. Když jsem pracovala pro

neziskovou společnost, která se pokoušela řešit posklizňovou ztrátu rajčat

v Nigérii, v týmu jsme si uvědomili, že nejsme schopni navrhnout agregační

středisko, aniž bychom věděli, jaké jsou v Nigérii podmínky pro život a sta-

vbu. Navrhli jsme nástroj podobný stolní hře, který umožnil nigerijským far-

mářům navrhnout si středisko sami. Brzy poté bylo v Kanu postaveno první

agregační středisko pro rajčata a místní obyvatelé ho oprávněně považova-

li za vlastní, protože byli vybaveni nástroji, díky nimž se mohli stát vlastníky

designového procesu.18

Designový proces musí být etický

Během designového procesu dochází k mnoha interakcím mezi uživatelem,

klientem a designérem. Manažeři procesu odpovídají za to, že jsou brány v

úvahu všechny relevantní etické otázky. Činnosti spojené s výzkumem, tes-

továním a spolutvorbou s uživatelem musí respektovat soukromí a spoko-

jenost všech zůčastněných. Je třeba projekt jasně uvést, abychom se ujistili,

že všichni zúčastnění chápou, proč jsou v procesu přítomni, a co se od nich

očekává. Testovací aktivity by nikdy neměly způsobit, že by se uživatel cítil

trapně, pokud nedosáhne nějakého konkrétního výsledku.

Podobně by činnosti, které zahrnují kreativitu, například brainstor-

ming nápadů (ideace), neměly upřednostňovat některé výsledky před ostat-

ními. Příkladem špatné praxe by mohlo být designérovo rozhodnutí použit

pouze určité materiály vytvořené během workshopu, a to na základě jeho

osobních preferencí nebo předpojatosti. Práce a činnosti v rámci týmů musí

respektovat etické zásady. Stejně tak jim musí odpovídat pracovní prostor.

Při výuce designových metod na bootcampech, či workshopech je

zásadní, aby školení obsahovalo výuku základních etických norem a toho jak

je používat. Každý školitel designu musí zajistit, aby procesy, které vyučují,

byly později replikovány eticky.

Etika by měla být součástí obchodní strategie

Pokud je do designového procesu zapojen byznys (a upřímně řečeno, většina

klasických designových projektů vzniká na základě přání klienta), měla by být

etika zvažována dlouho předtím, než bude jakýkoli projekt zadán. Etické zá-

sady by měly být součástí obchodní strategie, nejen pro uvedení konkrétního

nového produktu/služby, ale pro jakoukoli činnost.

Toto bylo nejvíce zmiňované téma mezi lidmi, s nimiž jsem hovoři-

la během výzkumu pro tuto práci. Většina lidí, designérů i ostatních, nechce

vykonávat svou práci pouze kvůli zisku. Chtějí dělat činnost, která má vyšší

smysl a profesionálně je naplňuje pocitem, že dělají něco dobrého. Jako desig-

néři samozřejmě nemůžeme ovládat všechny aspekty vznikání a fungování

byznysů, ale můžeme se zapojit do práce na jejich zdokonalování. Musíme in-

vestovat čas do zkoumání zadání projektů a vypracovat obchodní nabídku se

zohledněním etickým principů. Pokud bude klient trvat na práci nerespektují-

cí etický přístup, měli bychom projektu říci ne.

Zdokonalování projektu nekončí dokončením designového projektu

Design je iterativní proces, ve kterém bychom měli kontinuálně ověřovat

data, kreativní koncepty a prototypy, a střídavě být schopni zaměřit se jak

na detail, tak na širší kontext, ve kterém navrhujeme. Je však důležité si uvě-

domit, že pokud chceme, aby naše práce byla kompletně etická, musí tento

proces pokračovat i poté, co je produkt nebo služba uveden na trh či do ru-

kou uživatelů. Performance musí být neustále kontrolována, aby se zajistilo,

že nedochází k nezamýšleným důsledkům, které by mohly někde škodit. Před

představením nového designu je užitečné definovat požadovaná měřítka, po-

dle nichž budeme sledovat úspěšnost a nezávadnost projektu. Pokud zjistí-

me, hned, nebo i časem, že produkt či služba nesplňuje požadované, nebo

dokonce někde způsobuje škodu, je nutné design přepracovat.

FRAMEWORK

Etické otázky jsou témata tak spletitá a rozmanitá, že se v nich designer

může velmi rychle ztratit či nechtěně něco opomenout. Jak bylo již popsáno,

etické principy musíme zohlednit nejen pro lidi – přímé uživatele a další lidi,

kteří budou naším designem ovlivněni, ale i pro životní prostředí. Je třeba vzít

v úvahu další živé organismy, se kterými sdílíme naši planetu, planetární li-

mity a množství odpadu, které je planeta schopna absorbovat.

Navrhuji zde framework, který má pomoci designérům zohlednit

všechny součásti systému, které musí při své práci zvážit:

3D ilustrace pomáhá vizualizovat ekosystém všech možných zasažených

oblastí. Pro praktické použití navrhuji jeho načrtnutí ve 2D pro každý sub-

jekt podél vertikální osy (viz vysvětlení 1.osy níže). Dalším krokem je vyhod-

nocení dopadu každého subjektu pomocí 2D diagramů, kde osy mapují dopad

v upstreamu a downstreamu (2.osa) a v čase (3.osa). Rozsah os je předmětem

diskuse v týmu. Čím větší však bude, tím lépe.

obrázek 1 Framework může být znázorněn jako 3D diagram. Osami jsou: seznam jedenácti subjektů, u nichž je třeba vzít v úvahu dopady naší práce, osa dopadů v downstreamu a upstreamu a osa krátkodobých a dlouhodobých dopadů.

113\112\

obrázek 2 Ilustrace načrtnutých 2D diagramů subjektů, u nichž hodnotíme dopady v upstreamu a downstreamu a dopady v krátkodobém a dlouhodobém horizontu.

1. Osa: Seznam aktérů a subjektů (1-11), kteří by mohli být ovlivněni

designem: lidé a společnost, následuje deset environmentálních výzev,

kterým svět dnes čelí; klimatická změna, ozonová vrstva, znečištění ovzduší,

využití energie, lesy, oceány, čistá voda, chemikálie a toxiny v životním pros-

tředí, biodiverzita a využití půdy a odpadové hospodářství.

Je třeba vzít v úvahu dopady, které může mít náš design na člověka,

a to jak výsledek naší práce, tak i v průběhu designového procesu. Jak již

bylo zmíněno, lidé nejsou jedinými živými bytostmi, na kterých záleží. Země

nesmí být dále poškozována. Je to jediný domov, který náš druh, lidský

druh, má. Pokud poškodíme náš domov, poškodíme sami sebe. Proto nej-

sou environmentální výzvy neméně důležité. Designéři musí mapovat rizika

pro klima, vodu, všechny živé organismy, půdu, oceány a lesy. Rovněž musí

být schopni odhadnout spotřebu energie, riziko znečištění a životní cyklus

produktu/služby. Deset environmentálních výzev bylo inspirováno knihou

Green to Gold.19

2. Osa: Upstream a downstream. Analýza autorů Etsyho a Winstona

s názvem AUDIO prezentuje environmentální výzvy, které je třeba při

navrhování brát v úvahu, pokud chceme jednat udržitelně. Analýza může být

nápomocná při mapování downstreamu a upstreamu dopadů, formulace

konkrétních problémů a hledání příležitostí pro zlepšení.19

Dopady v upstreamu jsou vše od procesu navrhování produktu,

získávání materiálů, dopady činností dodavatele, výroba, práce a transport.

Čím dále v systému dodavatelů budeme uvažovat, tím lépe.

Downstream jsou všechny možné dopady související s uživate-

lem. Co bude uživatel dělat s produktem? Jak se budou chovat při používání

služby? Jak se zachová po skončení životnosti produktu? A co se stane po pří-

padném uzavření služby?

Musíme přezkoumat každý subjekt ze seznamu a zmapovat poten-

ciální újmu pro každého z nich.

Mapování upstreamu a downstreamu je obtížné, časově náročné, a

vyžaduje více než jen designera. Odborníci z různých oborů a pracovníci, kteří

skutečně vykonávají činnosti v upstreamu, by měli být přizvání k diskuzi, aby

pomohli zvážit možný dopad.

3. Osa: Dopady v blízké a vzdálené budoucnosti. Mapování krátkodo-

bých a dlouhodobých dopadů může být ještě náročnější. Vyžaduje to dobrou

intuici, informovanost a profesionální schopnost předvídání trendů.

Pro každého aktéra musíme zvážit, jaký bude mít dopad projekt,

který chceme představit světu. Jaký bude okamžitý dopad? Jaký dopad bude

mít projekt ve vzdálenější budoucnosti? Může jeho existence ovlivnit budou-

cí generace? Reakce uživatele lze vyhodnotit časným testováním prototypů

a jejich iterováním. U ostatních aktérů musí být aktuální výzkum proveden a

posouzen odborníky.

Čím dále do budoucnosti je časová osa natažena, tím lépe. Navrhu-

ji uvažovat alespoň o dvě generace dopředu, nejlépe však do následujícího

století. Předvídání budoucnosti se může zdát nerealistické, ale existují profe-

sionálové, kteří se zabývají předpovídáním trendů a scénárií, aby pomohli fir-

mám a značkám plánovat obchodní strategie. Pro jakýkoli byznys, má-li být

úspěšný, je nezbytné držet krok s událostmi a trendy ve světě - v technologii,

politice, ekonomice a kultuře.

V mnoha případech se některé části mohou překrývat. Můžeme toho

využít k ověření předchozích hypotéz a poznatků. 2D mapy by měly zůstat

v designovém týmu po celou dobu navrhování, ale i po uvedení produktu či

služby na trh. Dopady by měly být průběžně kontrolovány.

ZÁVĚR

Designéři jsou jen malou částí lidstva a ještě menší částí světa, ve kterém ži-

jeme. Kdo vlastně jsme, abychom rozhodovali, co je skutečně optimální? Kdo

jsou designéři, aby rozhodovali, co je skutečně etické, když se vnímání toho,

co je správné a co je špatné, liší pro různé kultury a různé lidi, kteří jsou navíc

jen malou částí obrovského planetárního ekosystému?

Navrhování je akce změny stavu něčeho neuspokojivého na něco

lepšího, uspokojivějšího. Z mnoha definic toho, co je dobrý design, osobně dá-

vám přednost definici, která o dobrém designu pojednává jako o funkčním,

etickém, esteticky příjemném a kooperativním.

Název tohoto článku říká, že jednoho dne se všichni staneme desig-

nery. Všichni procházíme stovkami designových kroků denně, aniž bychom si

to uvědomovali. V budoucnu můžeme očekávat přesah designérské profese

do každodenního života lidí a do filosofií organizací. Očekává se, že kreativi-

ta a řešení problémů budou mezi nejdůležitějšími dovednostmi budoucnosti.

Nesmíme opomenout, že nejsilnější stránkou designu je spolupráce a syner-

gie různých myslí, názorů, vnímání, a pohledů na věc.

Etické standardy se vyvíjejí stejným způsobem jako se v průběhu

času mění definice toho, co znamená být spokojený. Etika v designu by měla

být předmětem dialogu při veškeré spolupráci jejíž podstatou je usilování

o nějakou změnu. Etika a estetika by měly jít ruku v ruce. Esteticky příjem-

né věci jistě pomáhají lidem přizpůsobit se novému, protože my lidé jsme

přitahováni vizuálně atraktivními věcmi. Filozof Alain de Botton řekl “Good

design matters because it encourages our better selves.” (Volný překlad au-

torky: Dobrý design je důležitý, protože v nás podporuje naše lepší já.) Ve

svém YouTube kanálu používá vizuální rekvizity, na kterých vysvětluje, jak

podoba našeho okolí může ovlivnit to, jak se cítíme. Není žádným tajemst-

vím, že jasně modrá obloha povzbuzuje dobrou náladu, zatímco šedé, chlad-

né a impozantní hory kancelářských budov mohou způsobovat, že se cítíme

otráveně.20 Dobrý design nemůže nikdy existovat bez toho, aniž by byl pro

uživatele přitažlivý a tato přitažlivost by měla být definována jak esteticky,

tak etickými standardy.

Estetické normy jsou taktéž definovány v průběhu času a jsou výs-

ledkem sociálního konstruktu. Není náhodou, že mnoho z významných de-

signérů se k navrhování dostalo skrz předchozí uměleckou praxi a činnost.

Nezapomínejme, že design má své kořeny v umění. Umění má mocnou schop-

nost artikulovat potenciálně kontroverzní témata, a díky tomu je vynikajícím

nástrojem pro aktivismus. Design by měl tuto aktivistickou funkci zachovat

114\

a používat ji. Etické standardy měly být prezentovány vizuálně přitažlivým

způsobem. To je jediný způsob, jak je společnost bude schopna přijmout, zto-

tožnit se s nimi a jednat podle nich.

POZNÁMKY A ZDROJE

1 Manzini, E. (n.d.). Design, ethics and sustainability (pp. 1-3, Rep. No. 28.8.06). DIS-Indaco, Politecnico di Milano.

2 Margolin, Victor. The Politics of the Artificial: Essays on Design and Design Studies. Chicago: The University of Chicago Press, 2002.

3 International network for Design for Social Innovation and Sustainability, see https://www.desisnetwork.org/

4 Illich, I., 1973. Tools For Conviviality. New York: Marion Boyars in Margolin, Victor. The Politics of the Artificial: Essays on Design and Design Studies. Chicago: The University of Chicago Press, 2002.

5 Papanek, Victor. Design for the Real World. London: Thames & Hudson, 2019.

6 Churchman, C. West. “Guest Editorial: Wicked Problems.” Management Science 14, no. 4 (1967): B141-142.

7 Buchanan, Richard. “Wicked Problems in Design Thinking.” Design Issues 8, no. 2 (1992): 5. https://doi.org/10.2307/1511637 in Margolin, Victor. The Politics of the Artificial: Essays on Design and Design Studies. Chicago: The University of Chicago Press, 2002, quoting

8 Lynn Shostack’s publications in European Journal of Marketing: “How to Design a Service.” (49–63), and Harvard Business Review: “Design Services that Deliver.” (133-139)

9 Szczepanska, Jo. “Design Thinking Origin Story plus Some of the People Who Made It All Happen.” Medium. Medium, June 2, 2019. https:/ medium.com/@szczpanks/design-thinking-where-it-came-from and-the-type-of-people-who-made-it-all-happen-dc3a05411e53.

10 “Aplikovaná Etika.” Wikipedia. Wikimedia Foundation, June 5 2020. https://cs.wikipedia.org/wiki/Aplikovan%C3%A1_etika.

11 Je důležité zdůraznit, že slovo „kdokoli” je zde použito obrazně, jelikož ne každý na světě má přístup k internetu a ne každý na světě umí číst

12 Facebookové skupiny: “Service Design, Design thinking, Service Innovation, UX, CX” a “Service design CZSK”

13 “Primum Non Nocere.” Wikipedia. Wikimedia Foundation, April 27, 2020. https://en.wikipedia.org/wiki/Primum_non_nocere.

14 Walker, Stuart. Sustainable by Design: Explorations in Theory and Practice. London: Earthscan, 2007.

15 Riikka Jää, May 15, 2020 (13:59), Sjef Sjef May 15, 2020 (15:43), comments on “...what ethics in design mean to you?..”, in Facebook group “Service Design, Design thinking, Service Innovation, UX, CX

16 Fuad-Luke, Alastair. Design Activism: Beautiful Strangeness for a Sustainable World. Sterling, VA: Earthscan, 2009.

17 Lazslo Mohogoly Nagy, Transcript “Conference On Industrial Design: A New Profession”, New York City, 1946, Museum of Modern Art Library, 213, in Margolin, Victor. The Politics of the Artificial: Essays on Design and Design Studies. Chicago: The University of Chicago Press, 2002.

18 Projekt ve spolupráci s Pyxera Global a SCAD (Savannah College of Art and Design) in 2017, cílící na snižování posklizňové ztráty rajčat v Nigérii

19 Esty, Daniel C., and Andrew S. Winston. Green to Gold: How Smart Companies Use Environmental Strategy to Innovate, Create Value, and Build Competitive Advantage. Hoboken, NJ: Wiley, 2009.

20 Alain de Botton. School Of Life YouTube channel. “Why Design Matters.” YouTube video, see https://www.youtube.com/watch?v=J6LtABooE2c

117\This text accepts the contemporary tendency to metaphorize. Invoking P.

Ricoeur (1975: 79), it exposes an idea related to design based on another that

becomes “plus frappante”, that of “cycle”. It can be said that the application

of the cycle concept, especially in its biological version of the life cycle, has

already been carried out for production, organizations and technologies

(Freuz, 1987; Pérez and López, 2003). Therefore, its application to Design is

merely a simple exercise.

However, as K. Pomian (1993: 105) reminds us, in the “cycle” there are

“two phases: one ascending and one descending”. If we think of Design in the

ascending phase, then it will have a more hopeful future. On the other hand,

if we are in a descending phase today, then “we project our anxieties into the

future and turn to the past...”. Therefore, the issue is not the simple application

of the cycle metaphor, but the perception of the stage in which Design is.

Here follows the argument about the hypothesis that Design is in a

descending phase. Some prefer to claim that one is in the stage of maturity

(an intermediate phase of life cycles). This lessens the anxieties imposed by

the change, but there is no advantage in defering the inevitable.

At the beginning of February 2020 I did the search for four words

(Design, Art, Money and God) in the Alphabet’s algorithm in the widest

possible way. Money and God were the words “control” because they refer to

the higher values of the present and the past. The obtained results showed

approximate values for Design and Arts: 25 270 000 000 results, but with a

faster search for Design; The god Money, on the other hand, obtained 7 570

000 000 results and the old word GOD 3 820 000 000. It is concluded that

Money is worth 30% of the entries obtained in Design and Arts and God is for

50% of Money or 15% of Design or Arts.

This confirms the good news for schools of Design and Arts and

less good ones for theology courses. Money, on the other hand, has greater

advantages in connecting itself with the sector of the creative universe,

which has happened in fact in the last decades. The success of Design is

evident in the world of online searches. The next question is whether this

success is growing or is already in a downward phase. To answer it we must

think of the context: Design is a product of a capitalist economic model and

stems from a technical context.

It is true that both capitalism and technophilia have been highly

accepted in our universe. However, success and maturity imply an increasing

need to acquire resources from its environment. It appears that, from the

point of view of the most cognitive and human functions, the sector is

protected with an increasing number of people, namely young people, who

value these areas; however, the same is not true for other resources. We are

moving towards a universe of energy and environmental savings.

This means a decline in the hyper-productive universe that has

fueled Design as we know it. Successful Design will have to change and this

represents the end of a cycle: the “Design industry is part of the problem”

(Florian Idenburg)

In 2014 in PLI magazine (nº5, Production) some patriarchs of Design

talked about the changes imposed on Design by technological changes and

the ease of production due to printing technologies, ecological and productive

challenges and difficulties in terms of training processes. However, they still

maintained the status of the producer or co-producer designer.

But the scenario can be much more radical. The industrial revolution

produced the separation between the consumer and the producer, between

who designed the instruments and who used them. The path went through

segmentation and hyperspecialization. In this context, Design has become an

instrument to build bridges between producer / trader and consumer. In fact,

these bridges were unidirectional and, by facilitating the passage, reduced

the awareness of the continuously widening moat. The terrain flattened by

the objects leaves us neither space for an understanding of the objects nor

with the present that lies ahead (Byung-Chul Han, 2018: 55).

But these bridges are collapsing as the banks have moved. One

possible answer is to transform the role of Design and its members: to stop

focusing on the user as a consumer 1 and to focus on a hybrid capable of

confronting objects, of conceiving and using them.

Design stops designing products for any user in a certain context

of use and starts to provide means and conditions so that someone can

determine and even produce “his product”. It is also, if we wish, to return to

the dimension of the peasant-craftsman identified by Heidegger: someone

who designs his object, prepares the materials, makes it and uses it.

It is the beginning of the end of a designer – designer responsible for

a myriad of objects to compete and flood the market. It is the transition to

a Design where unfinished objects predominate that learn from those who

use them (Tim Brown) focusing on effective problem solving and not on the

economic advantages of industries (Jay Osgerby). And the Designer performs

a metamorphosis: he becomes free to ask “stupid” questions (D. Norman), he

oscillates among the functions of consultant, mediator and even therapist of

the recovered relationship between the person and the objects that surround

him. Ideally, it could be the advent of a new Design philosophy in the world

where each man approaches Things in a familiar way, respecting and knowing

them (M. Buber) starting therefore a new cycle.

Bibliography

Paul Ricoeur, La métaphorique vive, Paris, Seuil, 1975

K. Pomian, Ciclo, Enciclopédia Einaudi, Lx., INCM, 1993

Byung-Chul Han, A expulsão do outro, Lx., Relógio de Água, 2018

Bártolo, J. e S. Afonso (Ed.), PLI - Produção, Sra. da Hora, ESAD, 2014

\Design is Dead.Long Live Design.Hitchhikingby Peter Greenawayand Others.

José Luís Simã[email protected] - College of Arts and DesignMatosinhosPortugal

keymordsdesigncyclefuturthemesethics and design(ir)responsibility of designthe role of education for good design

en

1 Norman, D. (2006).

Words Matter. Talk About

People: Not Customers,

Not Consumers, Not

Users. In: https://jnd.org/

words_matter_talk_about_

people_not_customers_

not_consumers_not_

users/2008

119\Este texto aceita a tendência contemporânea de metaforizar. Invocan-

do P. Ricoeur (1975:79) expõe uma ideia relativa ao design a partir de ou-

tra que se torna “plus frappante” que é a de “ciclo”. Poder-se-á dizer que

a aplicação do conceito de ciclo, sobretudo na sua versão biológica de ci-

clo de vida, foi já realizado para a produção, organizações e tecnologias

(Freuz, 1987; Pérez e López, 2003). Logo, a sua aplicação ao Design é um

exercício meramente simples.

Contudo, como nos lembra K. Pomian (1993: 105) no “ciclo” confor-

mam-se “duas fases: uma ascendente e outra descendente”. Se colocar-

mos o presente do Design na fase ascendente, então este terá um futuro

mais esperançoso. Inversamente, se estivermos hoje numa fase descen-

dente, então “projetamos no futuro as nossas angústias e voltamo-nos

para o passado...”. Logo, a questão não é a aplicação simples da metáfora

de ciclo, mas a perceção sobre a fase em que se encontra o Design.

Segue-se a argumentação sobre a hipótese de o Design estar na

fase descendente. Alguns preferem afirmar que se está na fase da ma-

turidade (uma fase intermédia dos ciclos de vida). Isso diminui as angús-

tias impostas da mudança, mas não há vantagens em protelar o inevitável.

No início de Fevereiro de 2020 fiz a pesquisa de quatro palavras

(Design, Art, Money e God) no algoritmo da Alphabet e no âmbito mais

alargado possível. Money e God eram as palavras “controlo” porque se

referem aos valores mais elevados do presente e do passado. Os resul-

tados obtidos mostram valores aproximados para Design e Arts: 25 270

000 000 resultados, mas com busca mais rápida para Design; Já o deus

Money obteve 7 570 000 000 resultados e a vetusta palavra GOD ficou

pelos 3 820 000 000 resultados. Conclui-se que Money vale 30% das en-

tradas obtidas em Design e Arts e God fica por 50% de Money ou 15% de

Design ou Arts.

Isto confirma as boas notícias para as escolas de Design e Artes e

menos boas para os cursos de Teologia. Já o dinheiro tem maiores vanta-

gens em se ligar ao setor do universo criativo, o que de facto se tem verifica-

do de modo mais acentuado nas últimas décadas.

O sucesso do Design é evidente no mundo das buscas em-linha.

A questão seguinte é saber se esse sucesso está em crescendo ou já está

em fase descendente. Para responder lembro desde já o contexto: o De-

sign é um produto de um modelo económico capitalista e decorre de um

contexto técnico.

É verdade que tanto o capitalismo como a tecnofilia têm a mais

elevada aceitação no nosso universo. Todavia, o sucesso e maturidade im-

plicam uma crescente necessidade de aquisição de recursos ao seu meio.

Verifica-se que, do ponto de vista das funções mais cognitivas e huma-

nas, o sector está resguardado com um número crescente de pessoas, no-

meadamente jovens, a valorizarem estes domínios; todavia, o mesmo não

acontece com outros recursos. Estamos a caminhar para um universo em

poupança energética e ambiental.

Isso significa um declínio do universo hiperprodutivo que tem ali-

mentado o Design tal como o conhecemos. O bem-sucedido Design terá for-

çosamente de mudar e isso representa o fim de um ciclo: a “indústria do

Design faz parte do problema” (Florian Idenburg).

Em 2014 na revista PLI (nº5, Produção) alguns patriarcas do Design

dialogavam sobre nas mudanças impostas ao Design pelas mudanças tec-

nológicas, com a facilidade de produção permitidas pelas tecnologias de im-

pressão, pelos desafios ecológicos e produtivos e dificuldades ao nível dos

processos de formação. Todavia, ainda mantinham o estatuto do Designer

produtor ou co-produtor.

Mas o cenário pode ser bem mais radical. A revolução industrial

produziu a separação entre o consumidor e o produtor, entre quem conce-

bia os instrumentos e quem os utilizava. O caminho passou pela segmen-

tação e pela hiperespecialização. Nesse contexto o Design transformou-se

num instrumento e construção de pontes entre o produtor/comercializador

e consumidor. Na verdade estas pontes eram unidirecionais e, ao facilitarem

a passagem, diminuíram a consciência do fosso em contínua ampliação. O

terreno aplanado pelos objetos não nos deixa espaço nem para uma com-

preensão dos objetos e nem com o presente que se situa em frente (Byung-

-Chul Han, 2018:55).

Mas estas pontes estão a soçobrar à medida que as margens de

movem. Uma resposta possível passa por transformar o papel do Design

e dos seus membros: deixar de se centrar no utilizador como consumidor 1

para passar a centrar-se num hibrido capaz de se confrontar com os objetos,

de os conceber e utilizar.

O Design deixa de conceber produtos para um qualquer utilizador

num certo contexto de utilização e passa a propiciar meios e condições

para que alguém possa determinar e até produzir ”o seu produto”. É ain-

da, se o quisermos, o voltar à dimensão do camponês-artesão identifica-

do por Heidegger: alguém que projeta o seu objeto, prepara os materiais,

realiza-o e utiliza.

É o inicio do fim de um designer–projetista responsável por uma mi-

ríade de objetos a concorrerem e a inundarem o mercado. É a transição para

um Design onde predominam objetos inacabados que aprendem com quem

os usa (Tim Brown) e centrado na resolução efetiva de problemas e não nas

vantagens económicas das indústrias (Jay Osgerby). E o Designer realiza uma

metamorfose: torna-se livre para por questões “estúpidas” (D. Norman), os-

cila entre as funções de consultor, de mediador e até de terapeuta da relação

recuperada entre a pessoa e os objetos que o rodeiam.

\O Design está Morto.Viva o Design.À Boleia de Peter Greenawaye Outros mais.

José Luís Simã[email protected] - Escola Superior de Artee Design de MatosinhosPortugal

keymordsdesigncyclefuturthemesethics and design(ir)responsibility of designthe role of education for good design

pt

1 Norman, D. (2006).

Words Matter. Talk About

People: Not Customers,

Not Consumers, Not

Users. In: https://jnd.org/

words_matter_talk_about_

people_not_customers_

not_consumers_not_

users/2008

120\

Idealmente poderá ser o advento de um novo Design-no-mundo

onde cada homem trate as coisas por Tu, respeitando-as e conhecendo-as

(M. Buber) e iniciando-se um novo ciclo.

Bibliografia

Paul Ricoeur, La métaphorique vive, Paris, Seuil, 1975

K. Pomian, Ciclo, Enciclopédia Einaudi, Lx., INCM, 1993

Byung-Chul Han, A expulsão do outro, Lx., Relógio de Água, 2018

Bártolo, J. e S. Afonso (Ed.), PLI - Produção, Sra. da Hora, ESAD, 2014

123\The relationship between design and sustainability has been increasingly

studied and questioned, and for these concepts to be effectively transformed

into practical and efficient tools in the production of products and services, it

is necessary to understand the growth of society, the consumer market and

the impact of creating new products within this context. The field of Design

has made several advances, but the possibilities are greater when form

follows evolution, and not just function (Braungart, 2008); that is, every day

you become better at what you do.

When rethinking design through global challenges and reformulating

the role of the designer to respond to these difficulties, we are faced with

a future of uncertainty; awaiting innovative strategies that grant effective

results and transform adversities into revolutionary opportunities. Design

has the power to positively accelerate the process change in production,

services and consumption in search of a sustainable world.

In the current context of sustainability, Circular Economy (CE)

has become an essential strategy for economic growth through resource

management and value creation through closed cycles and new business

models. Companies around the world are already applying their concepts

and principles, and government officials are instituting laws and action

plans for them to be applied, and its scope and practice is expected to

continue to grow.

With the awareness of the global environmental crisis and the

increase in the consumption of goods, a significant lack of raw materials

was identified. And, in order to recover these resources, in 2015 the European

Commission created an action plan with the purpose of applying Circular

Economy in industries; “An opportunity to reinvent the economy, making

it more sustainable and competitive” (www.ec.europe.eu, 2015). Thus, the

intention is to change the current wasteful linear economy to a regenerative

economy, which works through cycles and collaborations; production and

consumption, for waste management and secondary raw materials market;

to minimize waste and excessive use of resources, adding value to raw

materials and products at all stages of their cycle.

Assuming that CE is presented as an ideal economic model for the

sustainable growth of economy, production, industry and consumption, it

can be said that the current form of Linear Economy (LE), which more than

two centuries ago was driven by inconsequential industrial development is

unsustainable ( Andrews, 2015).

Design and the Linear Economy

Before starting a narrative about Circular Economy and new design

strategies aimed at sustainability, it is important to analyze the creation

of the designer’s role in Linear Economy. Despite the evolution of the

means of production, when there is no strategy and planning, not every

transformation is positive.

The authors of the book Cradle to Cradle (1st ed. 2002); Michael

Braungart and William McDonough, begin the first chapter by presenting

a brief history of the Industrial Revolution in a curious and unprecedented

way by making the readers imagine themselves responsible for the planning

of the Industrial Revolution. Ironically, leads to a reflection when describing

the drastic consequences of its results, such as, “(...) Design a system of

production that puts billions of pounds of toxic material into the air, water,

and soil every year (...) put valuable materials in holes all over the planet,

where they can never be retrieved; (...) create prosperity by digging up

or cutting down natural resources and, then, burying or burning them ”.

(Braungart & McDonough, 2008, p.26).

The Industrial Revolution was certainly not planned (Braungart &

McDonough, 2008), despite pointing this issue from the historical factor

that led to its measures; where engineers, designers, entrepreneurs and

industrialists “tried to solve problems and take immediate advantage of what

they considered to be opportunities in an unprecedented period of massive

and rapid changes” (Braungart & McDonough, 2008, pp.26). This thought can

be carried for today using the concept of opportunity - which the Michaelis

dictionary (2017) defines as “a favorable occasion; opportune and favorable

circumstance for the accomplishment of something; opportunity ”- in order

to translate what happens every day in the current economic system, often

without any planning.

Returning to history, it is worth noting that, even if the Industrial

Revolution was not planned, it does not mean that there was no reason

for it to exist (Braungart & McDonough, 2008). With the beginning of the

industrial advancement, from artisanal production, to the mills and fabric

production of Richard Arkwright, industrial-oriented cities were born, and

shift work began to achieve a return on investment, starting mass production

and growing year after year. Both desirable changes arose, such as the

efficiency of the industry, which reduced the price of products and made

them more accessible to the population, as well as undesirable ones, which

unfortunately led to unhealthy work and environmental problems (even if

not very evident at that moment). However, the greatest success has always

been, and still is, innovation. New products for new market demands, for

example, James Watt’s engineering company, which found a way to improve

the Newcomen steam engine, further advancing industrial production. Due to

the need to optimize offices and factories, Watt also developed many other

inventions evolving with the environment and social needs (Forty, 2009).

In this context, the private initiative industries emerged, which divided the

system of idealization and manufacturing, where the figure of the designer

begins to emerge (Sorano et al., S.d.).

\The Responsibilityof the Designerin an (un)Sustainable World

Carolina [email protected] e Gestão IndustrialUniversidade do PortoPortugal

keymordsdesignersustainabilitycircular economythemesrethinking the design towards new challenges: future of design sustainabilitysocial and environmental responsibility

en

125\124\

In this context of the Revolution, Josiah Wedgwood, with his

ceramic’s factory, started to rationalize the production methods, creating

catalogues and creative marketing techniques. From his sales by order where

the pieces needed to be identical, the division of labor and specialization

emerged, and the designer became important in the division of processes,

especially when the creatives hired by Wedgwood began to work according

to their own rules, thereby threatening the order of the factories, brought

the need to hire services from outside. Thus, design was being introduced to

the growth of manufacturing and division of labor (Forty, 2009).

Moving a little further into the 19th century, with the creation of

catalogue sales, there are varieties of products in relation to consumption

and the position of design in society, these great alternatives are explained

by three points. First, with the large variety, the consumer was provided

with great power of choice, making society begin to be characterized by

products, aiming to buy something different that would distinguish them

from the others.

The second point is the possibility of a greater number of sales, since

the industry was not concerned with the consumer’s needs, but with profit.

And so, a varied mix of products with no fundamental use has emerged,

such as the creation of a specific shaving mug, when in reality, any cup that

already existed at home could be used to place the brush and razor.

Finally, it is worth mentioning that the industry was not yet able

to differentiate social classes in a definite way, there was no market study,

companies produced what they wanted and launched countless products in

order to understand how society would behave before them (Forty, 2009),

and for that reason it was important to have options for the consumer to

choose what best represented him, considering that the era of consumption

was expanding. With the need to create new products, there is also a

demand for new tools, new machines, and the desire of designers to express

their ingenuity and talent. The designer however did not have autonomy

in the quantity or type of article that should be made in the industry, they

determined only its shape, because the increase in designs and consequently,

sales generated profit for the manufacturer, who therefore made all decisions.

Craftsmanship was quickly replaced by industry, which managed

commerce. At the same time, Arts and Crafts appeared, with the objective of

reformulating design through the return of handmade manufacturing, due

to the concern with the negative aspects of the industry, such as the lack

of social cohesion, the environmental effects, and the plethora of products

of low quality, with excessive ornaments and unnecessary for society. The

highlight was William Morris, who advocated a simpler and more ethical

approach to design and manufacturing (Fiell, C & P, 2005).

Regardless of opinions on the view of Morris, contrary to the

Industrial Revolution and capitalism, he was right to consider that “the

industry generates a loss of the creator’s control over production and

disfigures everyday objects” (Kazazian, 2005, p. 14). If the meaning of the

literal word “loss of control” is used, it can be generalized for every context

in which designers, engineers and industrialists do not know what happens

with their products, and consequently, the absence of planning and the lack

of this control resulted in materials lost to landfills or incineration, etc.

However, a counterpoint to Morris’ thinking and parentheses for

today; it may be added that even artisanal productions have no control

over what they produce. If all the products developed were designed to be

returned to their producers that would then have control over them, then

urgent proposals to save the planet may not be necessary.

Nevertheless, in the context of the Industrial Revolution, Henry Ford

founded the Ford Motor Company in 1903. In 1908 he began to produce the

Model T, seeking efficiency and the creation of the mass production process

through assembly lines, drastically reducing the price of automobiles and

making them accessible to much of society. By taking this principle to

other industries, it caused a huge increase in production and consequently

consumption, which revolutionized the industrial environment.

The advance of large industries, led by engineers and designers,

resulted in decades of a Linear Economy that caused an excessive consumption

of raw material in an inconsequential way. As stated by Braungart (2008),

these large industrialists did not contemplate their creations as part of a

larger system, they had no vision, they only saw the short-term benefit of

the economic system. Resources always seemed abundant and regenerating,

a time when natural capital was visibly inexhaustible. Until then, the

environment was not considered a human responsibility, much less a

problem since it brought so many solutions.

Within this context, it is important to highlight that this historical

approach does not have the purpose of negatively criticizing what the

Industrial Revolution generated for society and for the environment; since

many of its advances have brought immeasurable advantages, but it

cannot be overlooked that the failure to plan and analyze the long-term

consequences has caused almost irrecoverable damage to the environment.

The objective is to provide points to develop critical thinking through

a brief history of the beginnings of the designer’s profession, which appears

in the midst of a consumer society, directly linked to profit and the excessive

production of goods, developing products for companies and meeting the

needs of the market (Forty, 2009). This may suggest that the designer has

ceased to fulfil his role by not thinking about sustainable development, or

that the profession, being recent, did not cover the entire production system.

If the designer could predict and point out the negative consequences of

developing their products, the starting question could be: “What to do with

the products when they are no longer useful?”

Further in history, another problem related to sustainability, and not

only related to the accelerated growth of production, “appeared” before and

continued after World War I: Programmed Obsolescence (Andrews, 2015)

that made the disposal of products something common.

After the devastation caused by the Second World War, the dream

of the American way of life initiated a lavish lifestyle, promoting an ideal

of happiness based on the consumption of material goods. Following this

reconstruction, when in 1949, president Truman established the concept

of social and economic development, as a purpose of the nation-state

(Kazazian, 2005), western countries sought to adopt the capitalist system

as a basis for the development of society.

From this brief history that relates to social and industrial

evolution, it can be indicated that the assumption of the Linear Economy

is the result of creating products quickly and cheaply, with production

around energy, materials and accessible credits. LE gained prominence

mainly after the restrictions and rationing of the war, when the objective

was to produce a lot of material, making it available and cheap. Thus, for

more than 70 years, western society has promoted an ideal of happiness

based on the consumption of material goods as an engine for economic

and social development. And it can be said that this current form of Linear

Economy driven by inconsequential industrial development is unsustainable

(Andrews, 2015). If this way of life were applied to all continents, two and a

half planets would be needed today to meet the needs of natural resources

(Braungart & McDonough, 2008).

127\126\

This utopia of satisfaction with consumption grew and escalated,

always strongly supported by the political-economic system. At the same

time, in different corners of society and independently, warnings have

emerged about the unsustainability of this form of growth, leading to an

understanding of the need for urgent changes in the economy, in industry

and above all in society to guarantee a future.

Precaution with the environment has already been addressed in

the last decades, but one of the apparent reasons why sustainability did not

have the necessary impact was that it was presented as a cure for the planet

(Braungart & McDonough, 2008).

In the field of design, it was the designer Victor Papanek, in his book

entitled “Design for the real world” (1971) who alerted industrial production

and design in relation to ecology and society, also emphasizing the designer’s

responsibility to develop with the unification of man, ethics and ecology

(Papanek, 1971).

However, real awareness of the environmental crisis arises in 1972

with the publication by the Club of Rome of the book “The Limits to Growth”

(1972), where MIT scientists managed to alert the world, and a year later, the

UN (United Nations) created UNEP (United Nations Environment Program), to

deal with the planet’s sustainable development.

Shortly after, in 1987, the concept of Sustainable Development

was first presented, through the publication of the report, Our Common

Future, created by a world commission chaired by Gro Harlem Brutland and

commanded by the UN, with the following definition: “A growth for all, while

ensuring the preservation of resources for future generations...” (Geissdoerf

et al, 2016, p. 758)

Ecological problems that were previously analyzed with only local

dimensioning and “a tribute to pay for the growth of the material well-being

of societies under reconstruction” (Kazazian, 2005, p 20), become global

challenges such as; the hole in the ozone layer, an overabundance of waste

spread over the Earth, degradation of forests, a decline in biodiversity, etc.

Since then, and with each economic, environmental and population

crisis, society and industries are looking for new ways to ensure sustainable

economic and social growth. Kazazian (2005) states that sustainable

development occurs when reconciling economic growth, preserving the

environment and improving social conditions.

Another aspect related to industrial development is the life

cycle assessment (LCA), which includes the extraction of raw materials,

transportation, production, distribution and use, until the final stage of the

product - disposal, recycling or reuse. Only then it is possible to understand

the total environmental impact of a product system.

In one of the attempts to be efficient in the use of resources, the

World Business Council for Development used the term Eco-efficient in

an official way, for competitive companies that seek to be sustainable,

originating the concept of the 3 R’s (Reduce, Reuse, Recycle), according

to Braungart (2008) 4 R’s, with the Regulatory. To attest that being Eco-

efficient is not the solution, because being “less evil” is not a strategy that

will succeed in the future, Braungart uses the same retroactive process in

which he exemplified the consequences of the Industrial Revolution, with

the concept of eco-efficiency, “designing an industrial system that releases

fewer pounds of toxic waste annually into the air, soil and water; (...) bury

smaller quantities of valuable materials in holes all over the planet, from

where they can never be recovered. ” (Braungart & McDonough, 2008, p. 66).

It would remain the old linear system, but a little “less destructive”.

(...) If nature adhered to the human efficiency model, there would

be fewer flowers and fewer nutrients (...) the idea that nature would be

more efficient because it dematerialized or did not leave residues is absurd

(imagine zero waste or zero emissions in nature!). What is wonderful about

effective systems is that they are expected to do more, not less. (Braungart

& McDonough, 2008, p. 80)

At the beginning of the 21st century, several companies began to

take responsibility in the sustainability area, looking more as something

competitive than as a mandatory task (Kraaijenhagem, Oppe, & Bocken, 2016).

And, on a planet where resources are increasingly difficult to extract, this

responsibility is fundamental, especially when it came to the understanding

that the biosphere works in cycles, and that the technosphere could not be

sustained by a linear system.

Design and the Circular Economy

Circular Economy (CE), unlike Linear Economy, aims to limit the extraction of

raw materials and the production of waste. CE keeps products, materials and

resources in savings as long as possible, in addition to aiming to exterminate

waste at all stages of the Product Life Cycle. There is still no clear definition

of its limits, but according to the Ellen MacArthur Foundation, EMF the CE is:

(...) an industrial system that is restorative and regenerative by

intention and design. It replaces the “end of life” concept with restoration,

changes to renewable energy, eliminates the use of toxic chemicals that

hinder reuse, and aims to eliminate waste through the superior design of

materials, products, systems and, in this context, business models (EMF,

2013, p.7).

CE was inspired by Cradle to Cradle (C2C), a system based on nature,

which sees waste as food and as nutrients, and which aims to eliminate

the concept of loss to design products, packaging and systems with the

understanding that waste does not exist, because in nature everything is

connected, and for Braungart (2008) this is the contrast between natural

growth and the growth of industrial systems.

To become effective, CE divides the metabolisms of the planet into

two cycles:

1) Biological cycles, or biosphere: the cycles of nature. The material

or product that is designed to return to the biological cycle if it degrades in

the environment, is consumed by the soil, microorganisms and other animals.

2) Technological cycles, or technosphere: the cycles of industries,

technical materials from nature are also considered, the material or product

is designed to return to the technical cycle from which it comes.

To make the technical cycle possible, the CE (and C2C) introduced the

concept of Product Service, which, instead of selling a certain product, which

would possibly end up in a landfill, will sell a service that will guarantee that

the technical components always return to the industry it left, that is, the

technical cycle. That way, over time, manufacturers would save billions of

dollars in materials. As soon as the components circulated constantly, the

extraction of raw materials would decrease, resulting in a huge benefit for

the environment, vast savings for the manufacturer and advantages for the

customer, as the price of irrecoverable materials is embedded in the value of

the products (Braungart & McDonough, 2008).

However, it was observed that the critical point for the cycles to

work comes from the design, and everything that is not designed for human

and ecological health was called rough product, “Garbage, pollution, raw

products and other negative effects (...) are not the result of corporations

129\128\

that do something morally wrong. They are consequences of an obsolete

and unintelligent design” (Braungart & McDonough, 2008, p. 47).

To reduce the effects of bad design, several regulations were

created by private and governmental institutions - mainly against harmful

materials - however, in the final analysis, good design should not be changed

by a regulation, as it is a sign of project failure. Good design is not the result of

a product that at the end of its useful life becomes useless waste, but that is

within a technical cycle providing raw material for new products (Braungart

& McDonough, 2008).

Without business involvement, the transition to CE will not materialize,

and in order for this change to occur it is necessary to use its principles for

closing the cycles; companies that share, regenerate, optimize, eliminate

waste and depend on renewable energy sources, will create value in CE.

There are three starting points for the transition to CE (DelftX, 2016):

New business models: this approach will pave the way for the

creation and implementation of new business models, such as use licensing

instead of ownership, products that are services (rental vs. sale contracts),

maintenance by companies, among others, aim at new recycling models with

higher quality and sustainability.

Reverse Logistic Cycle: taking into account that the creation of value

from used materials and products presupposes their return to the origin, it

will be vital to enhance and exploit installed capacities or new models of

reverse logistics, treatment and return to the market.

Product design: the design process is considered from the moment

of conception; aspects related to the recovery and regeneration of products,

instead of being considered at the end of their useful life, the choice of materials,

design-oriented to assembly and disassembly, as well as repairs and updating

for durability, which will cause reuse and reuse within the life cycle.

And how to apply the concepts of Circular Economy effectively

through the lens of design?

The Designer conceives and defines materials to be applied, the

manufacturing process, the use and applications, and why not also define

the form of ‘disposal’ of the product? In addition to the considerations of

comfort and safety, aesthetics, form, function and usability. Why not think

about durable products, ready to be repaired within a technical cycle that

guarantees the creation of value and zero waste? The reuse, repair and

remanufacturing of products is a fundamental feature of Circular Economy,

as they increase the durability of products.

Within this context, Walter Stahel developed the “Principle of Inertia”

pyramid to guide products within the cycle; “Do not repair what is not broken,

do not remanufacture something that can be repaired, do not recycle a

product that can be remanufactured. Replace or treat only the smallest part

possible to maintain the existing economic value” (Stahel, DelftX, 2016)

There are also Six Design Strategies developed by the researcher

Marcel den Hollander, TU Delft so that the products become durable (DelftX,

2016):

1. Design for attachment and trust: it is about creating products that

will be “loved, liked or trusted” for a longer time, the consumer’s attachment

to the product will make it used for longer.

2. Design for durability: The goal of design for durability is to develop

products that withstand wear and tear caused by use.

3. Design for standardization and compatibility: aims to create

products with standardized and compatible parts. It means designing a

product in such a way that its parts fit not only the product itself, but also

others, in order to facilitate repair and maintenance.

4. Design for easy maintenance and repair: allows products to be

kept in excellent condition.

5. Design for updating and adaptability: allows for future expansion,

modification and updating.

6. Design for disassembly and reassembly: ensures that product

parts can be separated and reassembled easily.

Continuing his research, Professor Marcel den Hollander identified

the 3D printer as a fundamental tool for the Circular Economy, essentially

for the repair of products, being a great benefit for the industry and the

consumer, as they make repairs more profitable, eliminating the need to keep

a large number of spare parts in stock, and making complex plastic parts in

small series cheaper to produce.

Thus, by directing CE to the specific area of product development,

Circular Design has become a new method for this process. In 2016, IDEO, in

partnership with the Ellen MacArthur Foundation, launched an online circular

design guide, applying Design Thinking to a way of solving design problems

not only from a user’s point of view, but from the entire system involved

(EMF & IDEO, 2016).

(...)Traditional manufacturing is wasteful, because it focuses

exclusively on the end user. The circular economy mindset looks much wider,

to consider everyone who extracts, builds, uses, and disposes of things. By

zooming out from users, to consider the wider network of stakeholders, we

can unlock value at every stage of the process. As a designer, that includes

building feedback loops into your work; knowing the life cycle of materials

you use; collaborating with other industry stakeholders; and considering

unintended consequences. (www.circulardesignguide.com)

Instead of starting the cycle with a virgin raw material, develop

a product and finish this linear system (take > make > use > dispose) with

something that has lost all its value; Circular Design is differentiated by the

union with Circular Economy, providing tools to close the cycle and create

endless value, transforming the waste of one industry into food for another

(CE - DelftX, 2016).

On its home page, the Guide asks the following question: “And

if you could redesign everything, what would you do differently?” (www.

cirgularguide.com), in order to instigate the questioning about the current

business model, organizations and social systems. After all, the objective

of applying the methods presented is to help create more elegant, effective

and creative solutions that offer companies a competitive advantage and

are regenerative for the world (circular guide / intro, 2016).

Perhaps Tim Brown was inspired by Morris’ statements when he

said that if the designer produced thinking about the return of the product to

the industry, it would have had a different impact, the point is that, in one way

or another, his question refers to a problem of more than decades, which in a

practical way presents alternative tools without returning to craftsmanship.

And now, we could complete the Circular Guide question, and if ‘in

addition to redesigning everything, what will you designer do differently for

the future?’

We can conclude that, as mentioned at the beginning of the text,

‘Design has this power to positively accelerate the change in production,

services and consumption processes in search of a sustainable world’. The

designer has a fundamental role in shaping society, innovating, creating

strategies and alternatives in the face of complex problems; and thus

130\

integrate systems designed by man with systems created by nature, linking

what is technically possible with what is ecologically necessary, maintaining

the multidisciplinary nature of design to solve complex problems and

accelerate the transition to sustainable design.

After all, waste is error of design, but the triumph is for the designer

who plans today with a vision for tomorrow.

Bibliography

Andrews, D. (2015). The Circular Economy, Design Thinking and Education for Sustainability, Local Economy, 39(3), 305- 315.

Braungart, M. & McDonough, W. (2013). Cradle to Cradle. São Paulo: G. Gilli.

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.ellenmacarthurfoundation.org/assets/downloads/publications/Ellen-MacArthur-Foundation-Towards-the-Circular-Economy- vol.1.pdf

Ellen MacArthur Foundation (2013). Towards the Circular Economy. Retrieved July 21, 2017, from: http://www.mvone-derland.nl/system/files/media/towards-the-circular-economy.pdf

EMF & IDEO. (2016). The Circular Design Guide. Retrieved, July 22, 2017, from: https://www.circulardesign guide.com/

Forty, A. (2009). Objects of Desire. 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

Kazazian, Thierry (2005). Haverá a idade das coisas leves. São Paulo: Ed. Senac São Paulo.

Kraaijenhagen, Oppe, & Bocken (2016). Circular Business - Collaborate and Circulate. Netherlands: Circular Collaboration.

133\A relação do Design e da Sustentabilidade vem sendo a cada dia mais estu-

dada e questionada, e para que estes conceitos sejam efetivamente trans-

formados em ferramentas práticas e eficientes na produção de produtos e

serviços, é necessário compreender o crescimento da sociedade, o mercado

consumidor e o impacto da criação de novos produtos dentro desse contexto.

O campo do Design tem tido diversos avanços, porém as possibilidades são

maiores quando a Forma segue a Evolução, e não apenas a Função (Braun-

gart, 2008); ou seja, a cada dia se tornar melhor naquilo que se faz.

Ao repensar o Design mediante aos desafios globais e ao reformu-

lar o papel do Designer para responder a estas dificuldades, nos deparamos

com um futuro de incertezas a espera de estratégias inovadoras que con-

cedam resultados efetivos, e transformem as adversidades em oportunida-

des revolucionárias. O design tem esse poder de acelerar positivamente a

mudança dos processos de produção, serviços e consumo em busca de um

mundo sustentável.

No contexto atual de sustentabilidade, a Economia Circular se tor-

nou uma importante estratégia de crescimento económico mediante a ges-

tão dos recursos e da criação de valor através de ciclos fechados e novos

modelos de negócio. Empresas ao redor do mundo já utilizam seus conceitos

e princípios, e governantes estão instituindo leis e planos de ação para que

sejam aplicados por completo, assim é ainda previsto que seu alcance e prá-

tica continue a crescer.

Com a conscientização a respeito da crise ambiental mundial e a re-

lação do aumento do consumo de bens, foi identificado uma grande falta de

matéria-prima. E, com o intuito de recuperar esses recursos, em 2015 a Co-

missão Europeia criou um plano de ação com a finalidade de aplicar a Eco-

nomia Circular nas indústrias; “uma oportunidade de reinventar a economia,

fazendo-a mais sustentável e competitiva” (www.ec.europe.eu,2015). Assim,

pretende-se mudar a atual economia linear de desperdícios para uma eco-

nomia regenerativa, que funcione por meio de ciclos e colaborações; da pro-

dução e consumo, para gestão de desperdício e mercado de matérias primas

secundárias; Com o intuito de minimizar o desperdício e o excesso da utiliza-

ção dos recursos, agregando valor às matérias primas e aos produtos em to-

das as etapas de seu ciclo.

Partindo do pressuposto que a EC é apresentada como modelo

econômico ideal para o crescimento sustentável do Planeta, pode-se afir-

mar que a forma atual de Economia Linear (EL) que há mais de dois séculos

foi dirigida pelo desenvolvimento industrial inconsequente é insustentável

(Andrews, 2015).

O Design e a Economia Linear

Antes de iniciar uma narrativa sobre a Economia Circular e as novas estraté-

gias de design voltados para a sustentabilidade, é importante analisar a cria-

ção do papel do designer na Economia Linear. Apesar da evolução dos meios

de produção, quando não existe estratégia e planejamento, nem toda trans-

formação é positiva.

Os autores do livro Cradle to Cradle (1º ed. 2002); Michael Braungart

e William McDonough, iniciam o primeiro capítulo apresentando uma breve

história sobre a Revolução Industrial de uma forma curiosa e inédita ao fa-

zer o leitor se imaginar como responsável pelo planejamento da Revolução

Industrial. Ironicamente, leva a uma reflexão ao descrever as consequências

drásticas de seus resultados, como por exemplo, “(...) Projetar um sistema de

produção que despeje toneladas de material tóxico, todos os anos, no ar, na

água e no solo; (...) enterre materiais valiosos em buracos por todo o planeta,

de onde nunca poderão ser recuperados; (...) crie prosperidade por meio da

extração e redução de recursos naturais e, então, enterre-os ou queime-os”.

(Braungart & McDonough, 2008, p.26).

A Revolução Industrial decerto não foi planejada, não obstante ao

apontar esta temática a partir do fator histórico que acarretou suas medidas;

onde engenheiros, designers, empresários e industriais, “tentavam resolver

problemas e tirar vantagem imediata daquilo que consideravam ser oportu-

nidades em um período sem precedentes de mudanças massivas e velozes”

(Braungart & McDonough, 2008, pp.26). Este pensamento pode se transpor-

tar para a atualidade ao utilizar o conceito de oportunidade - que o dicioná-

rio Michaelis (2017) define como “ocasião favorável; circunstância oportuna

e propícia para a realização de alguma coisa; ensejo” - de forma a traduzir

o que ocorre a cada dia no sistema econômico atual, muitas vezes sem ne-

nhum planejamento.

Retomando à história vale destacar que, mesmo que a Revolução

Industrial não tenha sido planejada, não significa que não houve uma razão

de existir (Braungart & McDonough, 2008). Com o início do avanço indus-

trial; da produção artesanal, ao moinho e à produção de tecido de Richard

Arkwright, nasceram as cidades voltadas para as indústrias e o início do tra-

balho em turnos para obterem retorno de investimento, dando início a pro-

dução em massa e seu crescimento ano após ano. Assim surgiram tanto

mudanças desejáveis, como a eficiência da indústria, que diminuiu o preço

dos produtos e os tornou mais acessíveis à população, quanto indesejá-

veis, que infelizmente acarretaram na insalubridade, problemas trabalhis-

tas e ambientais (mesmo que pouco notáveis no momento). Porém o grande

sucesso sempre foi, e ainda é a inovação. Novos produtos para novas de-

mandas de mercado, como por exemplo, a empresa de engenharia de James

Watt, que descobriu uma forma de aperfeiçoar a máquina a vapor de New-

comen, avançando ainda mais a produção industrial. Devido a necessidade

de otimizar escritórios e fábricas, Watt ainda desenvolveu muitas outras in-

venções, evoluindo com o meio e com as necessidades sociais (Forty, 2009).

\A Responsabilidadedo Designerem um Mundo(in)Sustentável



pt/

br

135\134\

Nesse contexto foram surgindo as indústrias de iniciativa privada, que dividi-

ram o sistema de idealização e fabricação, onde começa a surgir a figura do

designer (Sorano et al., s.d.).

Neste contexto da Revolução Josiah Wedgwood com sua fábrica de

cerâmicas passou a racionalizar os métodos de produção, criando catálo-

gos e técnicas criativas de marketing. A partir de sua venda por encomenda

onde as peças precisavam ser idênticas, surgiu a divisão de trabalho e a es-

pecialização, e o designer se tornou importante na divisão de processos, prin-

cipalmente quando os criativos contratados por Wedgwood começaram a

trabalhar de acordo com suas próprias regras, que ameaçando a ordem das

fábricas, trouxeram a necessidade de contratar serviços por fora. Assim o

design foi sendo introduzido no crescimento da manufatura e divisão de tra-

balho (Forty, 2009).

Avançando um pouco mais para o século XIX, com a criação da ven-

da por catálogos começam a existir variedades de produtos em relação ao

consumo e a posição do design na sociedade, essas grandes alternativas são

explicadas por três pontos. Primeiro, com tamanha opção, era fornecido ao

consumidor um grande poder de escolha, fazendo com que a sociedade co-

meçasse a se caracterizar pelos produtos, almejando comprar algo diferen-

ciado, que os distinguissem dos demais.

O segundo ponto é a possibilidade de maior número de venda, pois a

indústria não estava preocupada com as necessidades em si do consumidor,

mas com o lucro. E assim foi surgindo uma mistura variada de produtos sem

utilidade fundamental, como por exemplo a criação de uma caneca especí-

fica para barbear, quando na realidade poderia se usar um copo qualquer ou

porcelana que já existia em casa para colocar o pincel e a gilete.

Por último vale ressaltar que a indústria ainda não era apta a dife-

renciar ao certo as classes sociais de forma definida, não existia um estu-

do de mercado, produziam o que desejavam e lançavam inúmeros produtos

com objetivo de perceber como a sociedade se comportaria diante deles

(Forty, 2009), e por isso era importante ter opções para que o consumidor

escolhesse o que o representasse melhor, considerando que se expandia a

era do consumo. Com a necessidade da criação de novos produtos, também

surge a procura de novas ferramentas, novas máquinas, e o desejo dos de-

signers de expressar sua engenhosidade e talento. O designer porém ainda

não possuía autonomia na quantidade ou no tipo de artigo que deveria ser

feito na indústria, determinava apenas a sua forma, pois o aumento de de-

signs e consequentemente de vendas gerava lucro para o fabricante, que por

isso tomava todas as decisões.

Rapidamente a artesania foi substituída pela a indústria, que geria o

comércio. Ao mesmo tempo em contrapartida surgiu o Arts and Crafts, com

o objetivo de reformular o design através do retorno da manufatura devido a

preocupação com os aspectos negativos da indústria, como a falta de coesão

social, o meio ambiente, e a superabundância de produtos de baixa qualidade;

com excessivos ornamentos e desnecessários para sociedade. O grande des-

taque foi William Morris que defendeu uma abordagem mais simples e ética

ao design e a manufatura (Fiell, C & P, 2005).

Independente de opiniões a favor ou não ao pensamento contrá-

rio à Revolução Industrial e ao capitalismo, que Morris possuía, ele estava

certo ao considerar que “a indústria gera uma perda de controle do cria-

dor sobre a produção e desfigura objetos cotidianos” (Kazazian, 2005, p.

14). Se for utilizado o significado da palavra literal sobre a “perda de con-

trole”, pode-se generalizar para todo contexto, em que os designers, enge-

nheiros e industriais não sabem o que acontece com seus produtos, e por

consequência, a ausência de planejamento e a inexistência deste contro-

le resultaram em materiais perdidos em aterros sanitários ou outros fins,

como incineração, etc.

Porém, um contraponto ao pensamento de Morris e um parênteses

para atualidade; pode-se acrescentar que, nem mesmo as produções arte-

sanais possuem controle do que produzem. Se todos os produtos desen-

volvidos fossem pensados de forma à retornarem ao seus produtores, que

possuiriam controle sobre os mesmo, possivelmente não seriam necessárias

propostas urgentes para salvar o Planeta.

Ainda no contexto da Revolução industrial, Henry Ford fundou a

Ford Motor Company em 1903, em 1908 começou a produzir o modelo T, bus-

cando eficiência e a criação do processo de produção em massa através de li-

nhas de montagem, barateando drasticamente o preço dos automóveis e os

tornando acessível para grande parte da sociedade. Ao levar esse princípio

para as demais indústrias ocasionou um enorme aumento produtivo e conse-

quentemente o consumo, o que revolucionou o meio industrial.

O avanço das grandes indústrias, conduzidas por projetistas, en-

genheiros e designers resultaram em décadas de uma Economia Linear que

ocasionaram um consumo excessivo de matéria prima de forma inconse-

quente. Como afirma Braungart (2008), esses grandes industriais não con-

templavam suas criações como parte de um sistema maior, não possuíam

visão, apenas enxergavam o benefício do sistema econômico a curto prazo.

Os recursos sempre pareceram abundantes e regeneradores, um tempo em

que o capital natural era visivelmente inesgotável; Até então o meio ambien-

te não era considerado uma responsabilidade humana, e muito menos um

problema, já que trazia tantas soluções.

Dentro deste contexto é importante destacar que esta abordagem

histórica não tem o cunho de criticar negativamente o que a Revolução In-

dustrial gerou na sociedade e no meio ambiente; pois muito de seus avanços

trouxeram vantagens imensuráveis, porém não se pode deixar de apontar

que a falha de planejamento e análise das consequências a longo prazo acar-

retaram prejuízos quase que irrecuperáveis para o meio ambiente.

O objetivo é fornecer pontos para se desenvolver um pensamento

crítico através de um breve histórico dos primórdios da profissão do designer,

que surge em meio a uma sociedade de consumo, diretamente ligado ao lucro

e a produção excessiva de bens, desenvolvendo produtos para as empresas e

suprindo as necessidades do mercado (Forty, 2009). O que pode sugerir que o

designer deixou de cumpriu seu papel ao não pensar em um desenvolvimento

sustentável, ou que a profissão, por ser recente, não abrangeu todo o sistema

de produção. Se o designer pudesse prever e apontar as consequências ne-

gativas do desenvolvimento de seus produtos, a pergunta de partida poderia

ser: “O que fazer com os produtos quando não tiver mais utilidade?”

Avançando um pouco mais na história outro problema relacionado

à sustentabilidade, e não só referente ao crescimento acelerado de produ-

ção, “surgiu” antes e deu seguimento após a I Guerra Mundial: A Obsolescên-

cia Programada (Andrews, 2015) que tornou comum o descarte de produtos.

Após a devastação provocada pela Segunda Guerra Mundial, o so-

nho do American way of life deu início um estilo de vida pródigo, promovendo

um ideal de felicidade baseado no consumo de bens materiais. Seguindo esta

reconstrução, quando em 1949, Truman estabeleceu o conceito de desenvol-

vimento social e econômico, como um propósito do Estado-nação (Kazazian,

2005), os países ocidentais procuraram adotar o sistema capitalista como

base para o desenvolvimento da sociedade.

A partir desta breve história que relaciona a evolução social e indus-

trial, pode-se indicar que o pressuposto da Economia Linear é resultado da

137\136\

criação de produtos de forma rápida e barata, com uma produção em tor-

no de energia, materiais e créditos acessíveis, que ganhou destaque princi-

palmente após as restrições e racionamentos da guerra, quando o objetivo

foi produzir muito material, o tornando disponível e barato. Assim há mais

de 70 anos a sociedade ocidental tem promovido um ideal de felicidade ba-

seado no consumo de bens materiais como motor para o desenvolvimen-

to econômico e social. E pode se afirmar que essa forma atual de Economia

Linear dirigida pelo desenvolvimento industrial inconsequente é insusten-

tável (Andrews, 2015). Se esse modo de vida fosse aplicado em todos os

continentes, seria necessário, hoje, dois planetas e meio para atender às ne-

cessidades de recursos naturais (Braungart & McDonough, 2008).

Essa utopia de satisfação pelo consumo foi crescendo e escalan-

do sempre fortemente apoiado pelo sistema político-econômico. Ao mesmo

tempo em diferentes cantos da sociedade e de forma independente surgiram

alertas para a insustentabilidade desta forma de crescimento, conduzindo a

uma compreensão sobre a necessidade de mudanças urgentes na economia,

na indústria e sobretudo na sociedade para garantir um futuro.

A precaução com o meio ambiente já vem sendo abordada nas úl-

timas décadas, porém um dos motivos aparentes em que a sustentabilida-

de não obteve o impacto necessário foi ter sido apresentada como uma cura

para o Planeta (Braungart & McDonough, 2008).

No campo do design foi o designer Victor Papanek, em seu livro inti-

tulado “Design for the real world (1971) que fez um alerta à produção indus-

trial e ao design em relação a ecologia e à sociedade, ressaltando também a

responsabilidade do designer em desenvolver com a unificação do homem,

da ética e da ecologia (Papanek, 1971).

Porém a real consciência ante a crise ambiental surge em 1972

com a publicação pelo Clube de Roma do livro “The Limits to Growth” (1972),

onde cientistas do MIT conseguiram alertar o mundo, e um ano depois, a

ONU (Organização das Nações Unidas) criou a UNEP (Programa das Nações

Unidas para o Meio Ambiente), para tratar do desenvolvimento sustentá-

vel do Planeta.

Pouco depois, em 1987 o conceito de Desenvolvimento Sustentável

foi apresentado pela primeira vez, através da publicação do relatório Nosso

Futuro Comum, criado por uma comissão mundial presidida por Gro Harlem

Brutland e comandita pela ONU, com a seguinte definição: “Um crescimento

para todos, assegurando ao mesmo tempo a preservação dos recursos para

as futuras gerações...” (Geissdoerfer et al, 2016, pp. 758)

Problemas ecológicos que antes eram tratados em dimensiona-

mento apenas local e “um tributo a pagar pelo crescimento do bem-estar

material das sociedades em reconstrução” (Kazazian, 2005, pp 20), se con-

vertem em desafios globais como; buraco na camada de ozônio, superabun-

dância de resíduos espalhados pela Terra, degradação das florestas, declínio

da biodiversidade, etc.

Desde então e a cada crise econômica, ambiental e populacional, a

sociedade e as indústrias procuram novas formas para garantir um cresci-

mento econômico e social sustentável. Kazazian (2005) afirma que o desen-

volvimento sustentável ocorre quando se concilia crescimento econômico,

preservação do meio ambiente e melhoria das condições sociais.

Outro aspecto relacionado ao desenvolvimento industrial é a ava-

liação do ciclo de vida (ACV), que engloba a extração da matéria prima,

transporte, produção, distribuição e utilização, até a etapa final do produto;

descarte, reciclagem ou reutilização. Apenas assim é possível compreender

o impacto ambiental total do sistema de um produto.

Em uma das tentativas de ser eficiente no uso dos recursos, o Conse-

lho Empresarial Mundial para o Desenvolvimento utilizou o termo Eco-eficien-

te de forma oficial, para empresas competitivas que buscam ser sustentáveis,

originando o conceito dos 3 R’s (Reduzir, Reusar, Reciclar), segundo Braun-

gart (2008) 4 R’s, com o Regulamentar. Para atestar que ser Eco-eficiente

não é a solução, pois ser “menos mal” não é uma estratégia que obterá êxito

no futuro, Braungart utiliza o mesmo processo retroativo em que exemplifi-

cou as consequências da Revolução Industrial com o conceito de eco-eficiên-

cia, “projetar um sistema industrial que anualmente, libere menos quilos de

resíduos tóxico no ar, no solo e na água; (...) enterre menores quantidades de

materiais valiosos em buracos por todo o planeta, de onde nunca poderão ser

recuperados.” (Braungart & McDonough, 2008, pp. 66). Continuaria sendo o

velho sistema linear, porém um pouco “menos destrutivo”.

(...) Se a natureza aderisse ao modelo humano de eficiência, haveria

menos flores e menos nutrientes (...) é absurda a ideia de que a natureza se-

ria mais eficiente por desmaterializar-se ou por não deixar resíduos (imagine

desperdício zero ou emissões zero na natureza!). O que é maravilhoso em re-

lação aos sistemas eficazes é que deles se espera mais, e não menos. (Braun-

gart & McDonough, 2008, pp. 80)

Já no início do século 21 diversas empresas começaram a ter respon-

sabilidade na área sustentável, olhando mais como algo competitivo do que

como uma tarefa obrigatória (Kraaijenhagem, Oppe, & Bocken, 2016). E, em

um Planeta onde os recursos estão cada vez mais difíceis de extrair, esta res-

ponsabilidade é fundamental, principalmente quando se chegou ao entendi-

mento de que a biosfera funciona por ciclos, e que tecnosfera não poderia ser

sustentada por um sistema linear.

O Design e a Economia Circular

A Economia Circular (EC), ao contrário da Economia Linear, visa limitar a ex-

tração de matéria prima e a produção de resíduos. A EC mantém produtos,

materiais e recursos na economia o máximo de tempo possível, além de ter

como meta exterminar o desperdício em todas as etapas do Ciclo de Vida do

Produto. Ainda não existe uma definição muito clara sobre os seus limites,

mas de acordo com a Ellen MacArthur Foundation, EMF a EC é:

(...) um sistema industrial que é restaurativo e regenerativo por in-

tenção e design. Ele substitui o conceito de “fim da vida” com restauração,

mudanças para no de energia renovável, elimina o uso de produtos químicos

tóxicos que prejudicam a reutilização, e visa a eliminação de resíduos através

do design superior de materiais, produtos, sistemas e, neste âmbito, mode-

los de negócios (EMF, 2013, pp.7).

A EC foi inspirada no Cradle to Cradle (C2C) um sistema baseado na

natureza, que enxerga o lixo como alimento e como nutrientes, e, que objeti-

va eliminar o conceito de perda para projetar produtos, embalagens e siste-

mas com o entendimento de que o desperdício não existe, pois na natureza

tudo está conectado, e para Braungart (2008) este é o contraste entre o

crescimento natural e o crescimento dos sistemas industriais.

Para se tornar eficaz, a EC divide os metabolismos do Planeta em

dois ciclos

1) Ciclos biológicos, ou biosfera: são os ciclos da natureza. O material

ou produto que é projetado para retornar ao ciclo biológico se degrada no am-

biente, é consumido pelo solo, micro-organismos e outros animais.

2) Ciclos tecnológicos, ou tecnosfera: são os ciclos das indústrias, são

considerados também os materiais técnicos provenientes da natureza, o ma-

terial ou produto é projetado para retornar ao ciclo técnico do qual provém.

139\138\

Para tornar possível o ciclo técnico a EC (e o C2C) introduziram o

conceito de Produto de Serviço, que, ao invés de vender um determinado pro-

duto, que possivelmente acabaria em um aterro sanitário, será vendido um

serviço que irá garantir que os componentes técnicos retornem sempre à in-

dústria da qual saiu, ou seja, ao seu ciclo técnico. Desse modo, com o passar

do tempo, os fabricantes iriam economizar bilhões de dólares em materiais;

E assim que os componentes circulassem constantemente, a extração de

matéria prima iria diminuir, resultando em um enorme benefício para o meio

ambiente, uma vasta economia para o fabricante e vantagens para o cliente,

pois o preço dos materiais irrecuperáveis está embutido no valor dos produ-

tos (Braungart & McDonough, 2008).

No entanto, foi observado que o ponto crítico para que os ciclos fun-

cionem provém do design, e foi denominado produto bruto tudo que não é

projetado para a saúde humana e ecológica, “O lixo, a poluição, os produtos

brutos e outros efeitos negativos (...) não são resultado de corporações que

fazem algo moralmente errado. São consequências de um design obsoleto e

pouco inteligente” (Braungart & McDonough, 2008, pp. 47).

Para reduzir os efeitos do mau design, foram criadas por institui-

ções privadas e governamentais diversas regulamentações – principalmente

contra materiais nocivos – porém, em última análise, um bom design não de-

veria ser alterado por uma regulamentação, pois é um sinal de falha de pro-

jeto. O bom design não é o resultado de um produto que no final de sua vida

útil se converte em um resíduo inútil, mas que esteja dentro de um ciclo téc-

nico a fornecer matéria-prima para novos produtos (Braungart & McDon-

ough, 2008).

Sem envolvimento empresarial a transição para a EC não se concre-

tizará, e, para que suceda essa mudança é necessário utilizar seus princípios

para o fechamento dos ciclos; empresas que compartilham, regeneram, oti-

mizam, eliminam o desperdício e dependem de fontes de energia renovável

irão criar valor na EC.

Existem três pontos iniciais para a transição para EC (DelftX, 2016):

Novos modelos de negócio: esta abordagem abrirá caminho à cria-

ção e implementação de novos modelos de negócio, como licença de utiliza-

ção ao invés da propriedade, produtos que são serviços (contratos de aluguel

vs venda), manutenção por parte das empresas, entre outros, visando novos

modelos de reciclagem com maior qualidade e sustentabilidade.

Ciclo Logístico Reverso: ao se ter em conta que a criação de valor de

materiais e produtos usados pressupõe o seu retorno à origem, será vital po-

tencializar e explorar as capacidades instaladas ou novos modelos de logís-

tica reversa, tratamento e retorno ao mercado.

Design de produto: o processo de design passa a ser considerado

desde a concepção; aspectos relacionados com a recuperação e regeneração

dos produtos, ao invés de ser algo considerado no final de sua vida útil, pas-

sa a ser fundamental a escolha de materiais, o design orientado para a mon-

tagem e desmontagem, bem como reparos e atualização para durabilidade,

que irão ocasionar a reutilização e reaproveitamento dentro do ciclo de vida.

E como aplicar os conceitos da Economia Circular de forma efetiva

através das lentes do design?

O Designer concebe e define materiais a serem aplicados, o proces-

so de fabrico, o uso e aplicações; E por que não definir também a forma de

‘descarte’ do produto? Além das considerações de conforto e segurança, es-

tética, forma, função e usabilidade. Por que não pensar em produtos durá-

veis, prontos para serem reparados dentro de um ciclo técnico que garanta

a criação de valor e o desperdício zero? A reutilização, reparo e remanufatu-

ra de produtos é uma característica fundamental da Economia Circular, pois

aumentam a durabilidade dos produtos.

Dentro desse contexto, Walter Stahel desenvolveu a pirâmide do

“Princípio da Inércia” para guiar os produtos dentro do ciclo; “Não repare o

que não está quebrado, não remanufature algo que possa ser reparado, não

recicle um produto que possa ser remanufaturado. Substitua ou trate ape-

nas a menor parte possível para manter o valor econômico existente” (Stah-

el, DelftX, 2016)

Existem ainda Seis Estratégias de Design desenvolvidas pelo pes-

quisador Marcel den Hollander, TU Delft para que os produtos se tornem du-

ráveis (DelftX, 2016):

1. Design para apego e confiança: é sobre criar produtos que serão

“amados, gostados ou confiáveis” por mais tempo, o apego do consumidor

com o produto fará que ele seja utilizado por mais tempo.

2. Design para durabilidade: o objetivo do design para a durabilidade

é desenvolver produtos que suportem o desgaste causado pelo uso.

3. Design para padronização e compatibilidade: tem como objetivo a

criação de produtos com peças padronizadas e compatíveis. Significa projetar

um produto de tal forma que suas peças não se encaixam apenas no próprio

produto, mas também em outros, a fim de facilitar o reparo e a manutenção.

4. Design para fácil manutenção e reparo: permite que os produtos

sejam mantidos em condições excelentes.

5. Design para atualização e adaptabilidade: permite expansão, mo-

dificação e atualização futura.

6. Design para desmontagem e remontagem: garante que as peças

do produto possam ser separadas e remontadas facilmente.

Ao dar prosseguimento à sua pesquisa, o Professor Marcel den Hol-

lander identificou a impressora 3D como uma ferramenta fundamental para

a Economia Circular, essencialmente para o reparo de produtos, sendo um

grande benefício para a indústria e o consumidor, pois tornam as reparações

mais rentáveis, eliminando a necessidade de manter um grande número de

peças de reposição em estoque, e tornando mais barato a produção peças de

plástico complexas em pequenas séries.

Assim, ao direcionar a EC para a área específica do desenvolvimento

de produto, o Design Circular se tornou um novo método para esse processo.

Em 2016, a IDEO em parceria com a Ellen MacArthur Foundation lançou um

guia online de design circular, aplicando o Design Thinking a uma forma de

solucionar problemas de design não apenas de um ponto de vista do usuário,

mas de todo o sistema envolvido (EMF & IDEO, 2016).

(...) A fabricação tradicional é de desperdícios, porque se concentra

exclusivamente no usuário final. A mentalidade da Economia Circular parece

muito mais ampla, por considerar todos; que extrai, constrói, usa e descarta

as coisas. Ao ampliar os usuários, para considerar a rede mais ampla de par-

tes interessadas, podemos desbloquear o valor em todas as etapas do pro-

cesso. Como designer, isso inclui a construção de loops de feedback em seu

trabalho; conhecendo o ciclo de vida dos materiais que você usa; colaboran-

do com outras partes interessadas do setor; e considerando consequências

não intencionais. (www.circulardesignguide.com)

Ao invés de começar o ciclo com uma matéria prima virgem, desen-

volver um produto e terminar este sistema linear (pegar>fazer>usar>dispor)

com algo que perdeu todo o seu valor; o Design Circular se diferencia pela

união com a Economia Circular, fornecendo ferramentas para o fechamen-

to do ciclo e a criação interminável de valor, transformando o desperdício de

uma indústria em alimento para outra. (CE - DelftX, 2016)

140\

Em sua página inicial o Guia faz a seguinte pergunta: “E se você

pudesse redesenhar tudo, o que você faria diferente?” (www.cirgulargui-

de.com), a fim de instigar o questionamento sobre o atual modelo de negó-

cios, organizações e sistemas sociais. Afinal, o objetivo de aplicar os métodos

apresentados é auxiliar a criação de soluções mais elegantes, eficazes e cria-

tivas, que ofereçam às empresas uma vantagem competitiva e sejam rege-

nerativas para o mundo (circularguide/intro, 2016).

Talvez Tim Brown tenha se inspirado nas falas de Morris ao dizer

que se o designer produzisse pensando no retorno do produto para si teria

causado um impacto diferente, a questão é que, de uma forma ou de outra,

sua indagação se reporta à um problema de mais de décadas, que de forma

prática apresenta ferramentas e alternativas sem retornar à artesania.

E agora, completo a pergunta do Circular Guide, e se ‘Além de rede-

senhar tudo, o que você designer irá fazer de diferente para o futuro?

Podemos concluir que, assim como falado no início do texto, ‘O de-

sign tem esse poder de acelerar positivamente a mudança dos processos de

produção, serviços e consumo em busca de um mundo sustentável’. O de-

signer possui um papel fundamental em moldar a sociedade, de inovar, de

criar estratégias e alternativas diante de problemas complexos; E assim in-

tegrar os sistemas desenhados pelo homem com os sistemas criados pela

natureza, ligando o que é tecnicamente possível com o que é ecologicamente

necessário, mantendo o caráter multidisciplinar do design a resolver proble-

mas complexos e acelerar a transição para um mundo Sustentável.

Afinal, o lixo é um erro de design, mas o acerto é o designer que pla-

neja o hoje com a visão no amanhã.

Bibliografia

Andrews, D. (2015). The Circular Economy, Design Thinking and Education for Sustainability, Local Economy, 39(3), 305- 315.

Braungart, M. & McDonough, W. (2013). Cradle to Cradle. São Paulo: G. Gilli.

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.ellenmacarthurfoundation.org/assets/downloads/publications/Ellen-MacArthur-Foundation-Towards-the-Circular-Economy- vol.1.pdf

Ellen MacArthur Foundation (2013). Towards the Circular Economy. Retrieved July 21, 2017, from: http://www.mvone-derland.nl/system/files/media/towards-the-circular-economy.pdf

EMF & IDEO. (2016). The Circular Design Guide. Retrieved, July 22, 2017, from: https://www.circulardesign guide.com/

Forty, A. (2009). Objects of Desire. 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

Kazazian, Thierry (2005). Haverá a idade das coisas leves. São Paulo: Ed. Senac São Paulo.

Kraaijenhagen, Oppe, & Bocken (2016). Circular Business - Collaborate and Circulate. Netherlands: Circular Collaboration.

SOCIAL DESIGNINNOVATIVE SOLUTIONS AND PRACTI-CES FOR SPE-CIFIC GROUPSINCLUSIVEDESIGN —TRANSFORM-ING SOCIETIES THROUGHDESIGN AND ARTSCOLLABO-RATIVE PRO-CESSES, NEW BEHAVIOURS —


THEMES

145\Health services and especially the areas related to hospital Pediatrics are

increasingly committed to human well-being, either through the search for

more effective treatments, either through the promotion of the emotional

well-being of their patients, caregivers and professionals.

The search for greater humanization of services and hospital

environments is evident in several projects and studies disseminated

around the world (Beirão G., Costa H. (2018); Franqueira T., Gomes, G., &

Gonçalves, S. (2012); Lee, S. (2011); Instituto Desiderata (2015); Park, JG

(2009); Sherman-Bien, SA (2011); Ullán, AM, & Manzanera, P. (2009), but,

reality still shows us that most people continue to have little positive

feelings when they think of an hospital. For a institution whose main

objective is the conservation and restoration of health, a negative image

or a feeling of discomfort, can be seen as factors of stress that do not

contribute to the rapid recovery of patients. Although the value of stress

reduction is difficult to quantify, empirical evidence shows that there are

intangible factors that are important for the recovery and well-being of the

patient (Lankston, e.o., 2010).

In 2016, Esad, College of Arts and Design of Matosinhos was

contacted by the Pediatric Service of Pedro Hispano’s Hospital of Matosinhos

in order to conceive new visual contents fo the main corridor of the service

and for one of the rooms, where children and young people, caregivers and

educators, sometimes spend long hours of their days during the breaks of

the treatments, consultations or surgeries.

The goal stated for this collaborative project was clear: to try to

create a more welcoming and friendly environment, with points of interest

both fo users (from newborns to 18 years old) and for their caregivers, in

order to help them forget, even if briefly, the less pleasant reasons for being

there. Helping to create a positive memory of space and service has therefore

become one of the main challenges of this project.

\The Humanizationof the Hospital Environment through Illustration.A collaborative Project between ESADand Pedro Hispano’s Hospital of Matosinhos

José [email protected] [email protected] [email protected] — College of Arts and Designof MatosinhosPortugal

keymordsillustrationhospital pediatricshumanizewell-beingthemestransforming societies throughdesign and artscollaborative processes, new behaviours

Methodology

The process started with a series of visits to the Hospital’s Pediatrics

Service and meetings with the various professionals and users. A record was

made of the main needs and technical constraints were taken into account,

namely, materials and products not authorized for hospital use. This was

followed by a literature review on illustration and the influence of hospita

decoration on the recovery of patients. Among a constant dialogue between

the ESAD working group and Pediatric professionals, multiple solutions

were also analyzed. Of the variou possibilities pointed out, the fact that the

hospital had already implemented several actions that orbit medical practice

has been highlighted, and in which, for example, stories are told to help to

demystify the fears of children with illness through play.

With the knowledge of this and other practices, it was decided to

create a set of illustrations that, in some way, supported the already existing

practice of storytelling, and provided moments of distraction and positive

emotional experience for all the elements that inhabit the pediatric service.

The illustrations chosen are by Ana Melo, a student of the Graduate

Program in Digital Illustration and Animation at ESAD, in the 2014-2015

academic year. Originally they were developed within the scope of Project

III, guided by teachers Catarina Sobral and José Manuel Saraiva, responding

to the request to illustrate (and write) an illustrated picture book , also

known in Portugal as a narrative album . The illustrated picture book is a

particular type of book, where illustration takes on particular relevance

in the development of the narrative, which is not exclusively dependent

on the text. Its specificity resides in the intersemiotic relationship that the

two components that form it, verbal and pictorial, establish and that, in an

articulated and complementary relationship, together produce meaning

(Rodrigues, 2009, p.2).

As Bader (1976) defines, quoted by Arizpe and Styles (2003): A

picture book is text, illustrations, total design; an item of manufacture

and a commercial product; the social, cultural, historical document;

and foremost an experience for a child. As an art form it hinges on the

interdependence of pictures and words, on the simultaneous display

of two facing pages, and on the drama of the turning page. (Arizpe and

Styles, 2003, p.19).

Thus, if “illustrating means making decisions” (Schinberger, 2019,

p.14), which inevitably lead to “(...) what is most important in an illustration

is the idea behind it.” (Ibidem, 2019, p.18) in the illustrated picture book this

idea is usually formed according to the text that accompanies it (with the

exception, of course, of silent books, books without words). It was in this

context that Ana Melo developed the picture book “Lobo Mau”, with text and

illustrations of her own. The technique used was digital painting in Photoshop

(bitmapped images), in a square format, with a core of 24 illustrated pages,

to which were added the guards, cover page, cover and back cover. Thus, in

total, the book consists of 32 pages.

The narrative presents the daily life of a (bad) wolf and develops

from a text of short sentences to which corresponds an illustration of

a full page or double page. So, right on the first double page, on the left,

we come across a wolf, with its arms raised, as if frightening the reader,

with the bristly fur and protruding sharp teeth from which comes a howl

recorded verbatim by the word “Áuuu ”. This illustration corresponds to

the initial phrase “It was a wolf, scary, of bad reputation and badly seen

by everyone”, on the right page. This double page introduces us to the

fundamental characteristics of the text / image counterpoint game that

will enrich the entire book. Thus, if the sentence immediately takes us back

en

147\146\

to the traditional tales of authors like Andersen or the Brothers Grimm, it

also anticipates the possibility of a frightening and hideous figure. However,

the illustration shows us a wolf with fragile arms and legs, like hoses in

motion and a relatively childlike face expression, as if trying hard to be

scary, something that clearly is not. This irony between what the phrases

suggest and the illustrations exposes, repeats, intensifies and takes on new

forms throughout the book.

Thus, it is possible to find different categories of combinations

between text and illustration, using in this example the combinations

proposed by Scott McCloud (McCloud, 1993, p. 153/155). Right on the second

double page, it is possible to find a redundant occurrence between text and

image, which send the same message: to the phrase “everything in life went

wrong for him” there is an image of the wolf weeping over his misfortune.

On the third double page we can find an additive combination , the

one most used by Ana Melo, in which the text amplifies or particularizes

the message of the drawing and vice versa: the phrase “Already delivered

letters.” it is accompanied by an illustration in which the wolf rides a bicycle

and bumps into a tree, leaving the mail letters fluttering in the wind.

We also found a combination based on a self-sufficient text , in which

the images are limited to a literal function: on the tenth double page, to the text

“Until one day she saw a girl. It was a gifted girl in a red coat. ” it is accompanied

by an illustration of the wolf watching the girl in the red coat as she walks.

This illustration also includes an assembly practice : the text is treated as an

integral part of the image when inscribed in the profile of the central tree.

These examples are also demonstrative of the most common

category found in the relationship between the two languages on the album,

that of the interdependence of text and drawing, which combine their forces

to convey an idea that neither of them would be able to convey alone.

In this way, we can see the exciting dynamics that the reader can

find in understanding this book. But this is not a book for all types of readers.

The small presence of the text and the childlike character of the colorful

illustrations make it a tool of particular interest to stimulate the imagination

of pre-readers and first readers. In other words, children between 2 and 8

years of age, not being reduced, however, to this age group.

The book was later used by Pedro Hispano’s Hospital, starting from

the exhibition of its illustrations and corresponding phrases, in an adaptation

made in several pvc panels, arranged on the walls of the corridor and in one

of the rooms of the Pediatrics service. But when exposed in the hospital

corridor, have some of its original qualities not been lost? We don’t believe

it. On the one hand, what was exposed was the double pages of the book,

allowing to maintain the individual meaning of each one. On the other hand,

its arrangement follows the original chronological order, depending on the

number of pages. Thus, at the beginning of the corridor, the first double page

is exposed, followed by the rest in the numerical sequence of the book.

However, there is a possibility that patients will start viewing the

book from any point in the corridor. As we have already seen in the examples

we have presented, many of the images work in the confrontation of ideas

between the text and the image, a confrontation that is self-explanatory in

the observation of each exposed double page. Thus, each particular image

is perceived according to an analysis of its elements of characterization of

the characters, scale framing, technique, modeling, details, props, space

and main and secondary actions. However, when the spectator continues to

the next image, he is faced with characteristics such as the repetition of the

characters that create a narrative link between the new illustration exposed

and the previous one. In this way, new dynamics arise associated with the

Images 1 to 3

Illustrations by Ana Melo,

developed within the scope

of the Graduate Program in

Digital Illustration

and Animation at ESAD

(2014-2015).

Supervisor, José Saraiva.

149\148\

observation of images in sequence, such as questions of rhythm (expectation

/ surprise), speed, assembly and movement.

The exposure of all the double pages works, first, as an invitation for the

appreciation of the others, instead of segmenting their appreciation. Thus, Ana

Melo’s original picture book becomes an experience of fruition simultaneously

with individual illustration and illustration in narrative sequence.

Conclusion

According to Mendonça, M. (2015), children’s mental representation in

relation to hospitals can be transformed into positive experiences, memories

and feelings. The success of hospitalization and the therapeutic work of

hospitalized children can be enhanced by the existence of multidisciplinary

work teams - doctors, nurses, technicians and early childhood educators

- by the presence of the family but also by the design of welcoming

environments. Like nutrition, health, housing and education, playing is a basic

need for children. Aware of the importance of communicating emotions and

minimizing the impact of stress factors associated with th experience of

the disease and hospitalization in the pediatric wards of hospitals, several

recreational activities should be promoted.

An example of this effort to redesign the spaces and social rooms of

sick children was the action promoted by Hospital Pedro Hispano and ESAD

in a collaborative project that, through the exhibition of a set of illustrations,

sought to create, in the pediatric ward, a playful and pedagogical moment

for your patients.

The illustrations displayed in the corridor of the pediatric ward

seek to be a significant resource in the recovery of these patients, working

as an incentive to the dream, to the imagination providing other forms of

perception of the world. The illustrations allow children to enrich their

imagination, develop their cognitive level, know their emotions and deal with

their fears and anxieties (Bettelheihm, 1975 in Martins, 2016).

Participating in this project, ESAD sought to ensure the selection

of a set of illustrations capable of promoting communication and dialogue

between hospitalized children and adults stimulating fantasy and creativity,

thus helping each child to distance himself a little from a reality they

experience. That is, it was sought that the illustrations become a vehicle for

distraction, combating the fear and anxiety associated with hospitalization.

The selection o images took into account Mergulhão’s statement (in Ferreira,

2013) about how illustrations should be constituted as “an imaginary and

pictorial universe that will be all the richer and more meaningful for the child

the more it deviates from the stereotype and the conventionality laws”.

The selected illustrations from the book Lobo Mau by Ana Melo

installed in the pediatric ward thus seek to offer something new, creative,

surprising and not only reproduce stereotypes associated with fear like the

wolf, contributing to the development of their interpretive, communicative

competence and to the experience emotional experiences and positive

memories of the hospital space and service.

Referencies

Arizpe, E., Styles, M. (2003). Children Reading Pictures Interpreting Visual Texts. London: Routledge Farmer.

Franqueira, T., Gomes, G., & Gonçalves, S. (2012, April). Participatory Design in Public Services: Strategies to enhance children’s healthier behaviours. Paper presented at the Cumulus, Helsinki.

Ferreira., M. A. (2013). Identidade e Alteridade: A literatura infantil

como oportunidade de abordagens aos valores na Educação pré-escolar. Tese, Escola Superior e Portalegre, Brasil.

Instituto Desiderata, (2015). Humanização em Oncológica Pediátrica - Uma experiência de Ambientação de Hospitais Públicos no Rio de Janeiro . Rio de Janeiro.

La Torre, M. A. (2006). Creating a healing environment.Perspectives in psychiatric care, 42(4), 262-264. Perspectives in Psychiatric Care, Wiley On-line Library.

Lankston, L., Cusack, P., Freemantle, C., Isles, C. (2010). Visual Art in Hospitals: case studies and review of the evidence. Journal of the Royal Society Medicine 103, 409-9.

Lee, S. (2011). Evaluating Serviceability of Healthcare Servicescapes: Service Design Perspective. International Journal of Design, 5(2), 61-71.

Mendonça, M. J. C. (2015). A adaptação da criança à situação de doença e hospitalização: O brincar como instrumento terapêutico de enfermagem. Tese, Escola Superior de enfermagem de Lisboa, Portugal.

Martins, S. (2016). Natureza Ilustrada: Reflexão sobre o contributo da ilustração infantil na sensibilização para a Natureza. Tese, Faculdade de Belas Artes da Universidade do Porto, Portugal.

Mccloud, S. (1993). Understanding Comics . Northampton: Kitchen Sink Press.

PARK, J. G. (2009). Color perception in pediatric patient room design: healthy children vs. pediatric patients . Health Environments Research & Design Journal (HERD), 2(3).

Park, J. G. (2007). Environmental color for pediatric patient room design . Texas A&M University.

Rodrigues, C. (2013). Palavras e Imagens de Mãos Dadas. A Arquitetura do Álbum narrativo em Manuela Bacelar. Aveiro: Universidade de Aveiro.

Sherman-Bien, S. A., Malcarne, V. L., Roesch, S., Varni, J. W., & Katz, E. R. (2011). Quantifying the relationship among hospital design, satisfaction, and psychosocial functioning in a pediatric hematology - oncology inpatient unit . Health Environments Research & Design Journal (HERD), 4(4).

Sternberg, E. M. (2009). Healing spaces: The science of place and wellbeing . Harvard University Press.

Schinberger, Felix (2019). Ser Ilustrador . Gustavo Gili; São Paulo.

Ullán, A. M., & Manzanera, P. (2009). Las paredes cuentan: arte para humanizar un espacio de salud pediátrico . Arte, individuo y sociedad, 21, 123-142.

Vos, F. (2006). Building A Model Of Holistic Healing Environments For Children’s Hospitals With Implications For The Design And Management Of Children’s Hospitals (Doctoral dissertation, Thesis]. New York, NY: The City University of New York.

151\Os serviços de saúde e em especial as áreas afetas às Pediatrias hospitalares

estão cada vez mais comprometidas com o bem-estar humano, quer atra-

vés da procura de tratamentos mais eficazes, quer através da promoção do

bem-estar emocional dos seus pacientes, cuidadores e profissionais.

A procura por uma maior humanização dos serviços e dos ambien-

tes hospitalares está patente em diversos projetos e estudos divulgados um

pouco por todo o mundo (Beirão G., Costa H. (2018); Franqueira T., Gomes, G.,

& Gonçalves, S. (2012); Lee, S. (2011); Instituto Desiderata (2015); Park, J. G.

(2009); Sherman-Bien, S. A. (2011); Ullán, A. M., & Manzanera, P. (2009), mas,

a realidade ainda nos mostra que a maioria das pessoas continua a ter sensa-

ções pouco positivas quando pensa num hospital. Para uma instituição cujo

objetivo principal é a conservação e restauração da saúde, uma imagem ne-

gativa ou um sentimento de desconforto, podem ser vistos como fatores de

stress que não contribuem para a rápida recuperação dos pacientes. Embora

o valor de redução do stress seja difícil de quantificar, evidências empíricas

mostram que há fatores intangíveis que são importantes para a recuperação

e o bem estar do paciente (Lankston, e.o., 2010).

Em 2016, a Esad, Escola Superior de Artes e Design de Matosinhos

foi contatada por parte do Serviço de Pediatria do Hospital Pedro Hispano

de Matosinhos no sentido desta conceber novos conteúdos visuais para o

corredor principal do serviço e para uma das salas, onde crianças e jovens,

cuidadores e educadores, passam por vezes, largas horas dos seus dias, du-

rante os intervalos dos tratamentos, consultas ou cirurgias. Os objetivos

enunciados para este projeto colaborativo foram claros: tentar criar um am-

biente mais acolhedor e amigável, com pontos de interesse tanto para os

utentes (de recém nascidos aos 18 anos) como para os seus cuidadores, de

forma a ajudarem a esquecer, nem que por breves momentos, as razões me-

nos agradáveis de ali estarem. Ajudar a criar uma memória positiva do espa-

ço e do serviço tornou-se, por isso, um dos principais desafios deste projeto.

\A Humanizaçãodo Ambiente Hospitalar através da Ilustração.Projeto Colaborativoentre a ESADe o Hospital Pedro Hispanode Matosinhos



Metodologia

O processo iniciou-se com uma série de visitas ao Serviço de Pedia-

tria do Hospital e reuniões com os diversos profissionais e utentes do servi-

ço. Foi feito um registo das principais necessidades e dos constrangimentos

técnicos a ter em conta, nomeadamente, de materiais e produtos não autori-

zados no uso hospital. Seguiu-se uma revisão bibliográfica sobre ilustração e

a influência da decoração hospitalar na recuperação dos pacientes e, duran-

te o constante diálogo entre o grupo de trabalho da ESAD e os profissionais

da Pediatria, foram ainda analisadas as possíveis soluções a adotar. Das vá-

rias possibilidades apontadas, destacou-se o facto do hospital ter já imple-

mentado várias ações que orbitam a prática médica, e que nas quais, são por

exemplo contadas histórias que ajudam a desmistificar os medos da criança

com doença através do lúdico.

Com o conhecimento desta e de outras práticas, decidiu-se então

pela realização de um conjunto de ilustrações que, de alguma forma sus-

tentassem a prática já existente de contar histórias, e proporcionassem

momentos de distração e de experiência emocional positiva para todos os

elementos que habitam o serviço de pediatria.

As ilustrações escolhidas são da autoria de Ana Melo, aluna da Pós-

-Graduação em Ilustração e Animação Digital da ESAD, no ano letivo de 2014-

2015 Originalmente foram desenvolvidas no âmbito da disciplina de Projeto

III, orientada pelos professores Catarina Sobral e José Manuel Saraiva, res-

pondendo à solicitação de ilustrar (e escrever) um álbum ilustrado , também

designado em Portugal de álbum narrativo . O álbum Ilustrado é um tipo par-

ticular de livro, onde a ilustração assume particular relevância no desenvolvi-

mento da narrativa, que não está exclusivamente dependente do texto. A sua

especificidade reside na relação intersemiótica que as duas componentes que

o enformam, verbal e pictórica, estabelecem e que, numa relação articulada

e complementar, produzem, em conjunto, significação (Rodrigues, 2009, p.2).

Como o define Bader (1976), citado por Arizpe e Styles (2003): A pic-

ture book is text, illustrations, total design; an item of manufacture and a

commercial product; a social, cultural, historical document; and foremost an

experience for a child. As an art form it hinges on the interdependence of pic-

tures and words, on the simultaneous display of two facing pages, and on the

drama of the turning page. (Arizpe e Styles, 2003, p.19).

Assim, se “ilustrar significa tomar decisões” (Schinberger, 2019, p.14),

que conduzem inevitavelmente ao “(...) que existe de mais importante em

uma ilustração é a ideia por trás dela.” (Ibidem, 2019, p.18) no álbum ilustrado

essa ideia forma-se, geralmente, em função do texto que a acompanha (com

a exceção, evidente, dos álbuns mudos ou silenciosos, livros sem palavras).

Foi neste contexto que Ana Melo desenvolveu o álbum ilustrado Lobo Mau ,

com texto e ilustrações da sua autoria. A técnica utilizada foi a pintura digi-

tal em Photoshop (imagens em bitmap), num formato quadrado, com miolo

de 24 páginas ilustradas, às quais se acresceram as guardas, página de ros-

to, capa e contra capa. Assim, no total, o livro é constituído por 32 páginas.

A narrativa apresenta-nos o quotidiano de um lobo (mau) e desen-

volve-se a partir de um texto de frases curtas às quais corresponde uma

ilustração de uma página inteira ou de dupla página. Assim, logo, na primei-

ra página dupla, à esquerda, deparamo-nos com um lobo, com os braços

levantados, como que assustando o leitor, tendo o pelo eriçado e uns salien-

tes dentes afiados de onde sai um uivo registado textualmente pela palavra

“Áuuu”. A esta ilustração corresponde a frase inicial “Era um lobo, assustador,

de má fama e mal visto por todos”, na página da direita. Esta dupla página in-

troduz-nos as características fundamentais do jogo de contraponto texto/

imagem que enriquecerá todo o livro. Assim, se a frase nos remete imedia-

pt

153\152\

tamente para os contos tradicionais de autores como Andersen ou os irmãos

Grimm, ela também antecipa a possibilidade de uma figura assustadora e me-

donha. No entanto, a ilustração apresenta-nos um lobo de braços e pernas

frágeis, como mangueiras em movimento e uma expressão do rosto relativa-

mente pueril, como se esforçando-se fortemente para ser assustador, algo

que claramente não é. Esta ironia entre o que as frases sugerem e as ilustra-

ções expõem, repete-se, intensifica-se e toma novas formas ao longo do livro.

Assim, é possível encontrar diferentes categorias de combinações

entre texto e ilustração, sendo que utilizamos neste exemplo as combina-

ções propostas por Scott McCloud (McCloud, 1993, p. 153/155). Logo na se-

gunda dupla página, é possível encontrar uma ocorrência redundante entre

texto e imagem, que remetem a mesma mensagem: à frase “tudo na vida lhe

corria mal.” sucede-se uma imagem do lobo a chorar pelo seu infortúnio. Na

terceira dupla página podemos encontrar uma combinação aditiva , a mais

utilizada por Ana Melo, em que o texto amplifica ou particulariza a mensa-

gem do desenho e vice-versa: a frase “Já entregou cartas.” é acompanhada

por uma ilustração em que o lobo segue de bicicleta e esbarra contra uma ár-

vore, deixando as cartas de correio a esvoaçarem ao sabor do vento.

Também encontramos uma combinação assente num texto autos-

suficiente , em que as imagens limitam-se a uma função literal: na décima

dupla página, ao texto “Até que um dia avistou uma menina. Era uma menina

prendada de casaco vermelho.” é acompanhado por uma ilustração do lobo

a observar a menina de casaco vermelho enquanto caminha. Esta ilustração

inclui igualmente uma prática de montagem: o texto é tratado como parte in-

tegrante da imagem ao se inscrever no perfil da árvore central.

Estes exemplos são, igualmente, demonstrativos da categoria mais

usual encontrada na relação entre as duas linguagens no álbum, a da inter-

dependência de texto e desenho, que unem as suas forças para transmitirem

uma ideia que nenhum dos dois seria capaz de transmitir sozinho.

Deste modo, podemos perceber a dinâmica entusiasmante que o lei-

tor pode encontrar na compreensão deste livro. Mas este não é um livro para

todos os tipos de leitores. A presença exígua do texto e o caráter pueril das

coloridas ilustrações tornam-no uma ferramenta de particular interesse para

estimular a imaginação dos pré-leitores e primeiros leitores. Ou seja, crianças

entre os 2 e os 8 anos de idade, não se reduzindo, porém a esta faixa etária.

O livro foi posteriormente utilizado pelo Hospital Pedro Hispano de

Matosinhos, partindo da exposição das suas ilustrações e frases correspon-

dentes, numa adaptação feita em vários painéis de pvc, dispostos nas paredes

do corredor e numa das salas do serviço de Pediatria. Mas ao serem expostas

no corredor do hospital não se terão perdido algumas das suas qualidades ori-

ginais? Não cremos. Por um lado, o que se expôs foram as duplas páginas do

livro, permitindo manter o significado individual de cada uma. Por outro lado,

a sua disposição obedece à ordem cronológica original, em função do núme-

ro das páginas. Assim, no início do corredor é exposta a primeira dupla pági-

na, seguida pelas restantes na sequência numérica do livro. No entanto, existe

a possibilidade de os pacientes começarem a observação do livro a partir de

qualquer ponto do corredor. Como já vimos nos exemplos que apresentamos,

muitas das imagens funcionam no confronto de ideias entre o texto e a ima-

gem, confronto esse que é autoexplicativo na observação de cada dupla pá-

gina exposta. Assim, cada imagem particular é percebida em função de uma

análise aos seus elementos de caracterização das personagens, escala, en-

quadramento, técnica, modelação, detalhes, adereços, espaço e ações princi-

pais e secundárias. No entanto, quando o espetador continua para a imagem

seguinte, depara-se com características como a repetição das personagens

que criam um vínculo narrativo entre a nova ilustração exposta e a precedente.

imagens 1 a 3

Ilustrações de Ana Melo,

desenvolvidas no âmbito

da Pós-Graduação

em Ilustração e Animação

Digital da ESAD (2014-

2015) sob orientação

do prof José Saraiva.

155\154\

Deste modo, surgem novas dinâmicas associadas à observação de

imagens em sequência, como questões de ritmo (expectativa/surpresa), ve-

locidade, montagem e movimento.

A exposição de todas as duplas páginas funciona, primeiro, como um

convite para a apreciação das restantes, ao invés de segmentar a sua apre-

ciação. Assim, o livro original da Ana Melo converte-se numa experiência de

fruição simultaneamente da ilustração individual e da ilustração em sequên-

cia narrativa.

Conclusão

De acordo com Mendonça, M. (2015), a representação mental das crianças

relativamente aos hospitais pode ser transformada em experiências, me-

mórias e sentimentos positivos. O sucesso do internamento e do trabalho te-

rapêutico das crianças hospitalizados pode ser potenciado pela existência

de equipas de trabalho multidisciplinares – médicos, enfermeiros, técnicos e

educadores de infância – pela presença da família mas também pelo desenho

de ambientes acolhedores. Tal como a nutrição, a saúde, a habitação e a edu-

cação, brincar é uma necessidade básica das crianças. Conscientes da impor-

tância da comunicação das emoções e da minimização do impacto dos fatores

de stress associados à experiência da doença e da hospitalização nas alas

pediátricas dos hospitais devem ser promovidas diversas atividades lúdicas.

Exemplo deste esforço de redesenho dos espaços e salas de conví-

vio das crianças doentes foi a ação promovida pelo Hospital Pedro Hispano e

pela ESAD num Projeto colaborativo que através da exposição de um conjun-

to de ilustrações procurou criar, na ala pediátrica, um momento lúdico e pe-

dagógico para os seus pacientes.

As ilustrações expostas no corredor da ala pediátrica procuram ser

um recurso significativo na recuperação destes pacientes, funcionando como

um incentivo ao sonho, à imaginação, proporcionando outras formas de per-

ceção do mundo. As ilustrações permitem às crianças enriquecer a sua ima-

ginação, desenvolver o seu nível cognitivo, conhecer as suas emoções e lidar

com os seus medos e ansiedades (Bettelheihm,1975 in Martins, 2016).

Participando neste projeto a ESAD procurou garantir a seleção de

um conjunto de ilustrações capazes de promover a comunicação e o diálogo

entre as crianças hospitalizadas e os adultos, estimular a fantasia e a criati-

vidade, ajudando dessa forma cada criança a distanciar-se um pouco da rea-

lidade que se encontra a vivenciar. Isto é, procurou-se que as ilustrações se

tornassem num veículo de distração, combate ao medo e à ansiedade asso-

ciados à hospitalização. A seleção das imagens teve em consideração a afir-

mação de Mergulhão ( in Ferreira, 2013) sobre como as ilustrações devem

constituir-se como “um universo imagético e pictórico que será tanto mais

rico e significativo para a criança quanto mais se desviar do estereótipo e das

leis da convencionalidade”. As ilustrações selecionadas do livro Lobo Mau de

Ana Melo instaladas na ala pediátrica procuram assim oferecer algo de novo,

criativo, surpreendente e não apenas reproduzir estereótipos associados ao

medo como o lobo, contribuindo para o desenvolvimento da sua competên-

cia interpretativa, comunicativa e para a vivência de experiências emocionais

e memórias positivas do espaço e do serviço Hospitalar.

Referências

Arizpe, E., Styles, M. (2003). Children Reading Pictures Interpreting Visual Texts. London: Routledge Farmer.

Franqueira, T., Gomes, G., & Gonçalves, S. (2012, April). Participatory Design in Public Services: Strategies to enhance children’s healthier

behaviours. Paper presented at the Cumulus, Helsinki.

Ferreira., M. A. (2013). Identidade e Alteridade: A literatura infantil como oportunidade de abordagens aos valores na Educação pré-escolar. Tese, Escola Superior e Portalegre, Brasil.

Instituto Desiderata, (2015). Humanização em Oncológica Pediátrica - Uma experiência de Ambientação de Hospitais Públicos no Rio de Janeiro . Rio de Janeiro.

La Torre, M. A. (2006). Creating a healing environment.Perspectives in psychiatric care, 42(4), 262-264. Perspectives in Psychiatric Care, Wiley On-line Library.

Lankston, L., Cusack, P., Freemantle, C., Isles, C. (2010). Visual Art in Hospitals: case studies and review of the evidence. Journal of the Royal Society Medicine 103, 409-9.

Lee, S. (2011). Evaluating Serviceability of Healthcare Servicescapes: Service Design Perspective. International Journal of Design, 5(2), 61-71.

Mendonça, M. J. C. (2015). A adaptação da criança à situação de doença e hospitalização: O brincar como instrumento terapêutico de enfermagem. Tese, Escola Superior de enfermagem de Lisboa, Portugal.

Martins, S. (2016). Natureza Ilustrada: Reflexão sobre o contributo da ilustração infantil na sensibilização para a Natureza. Tese, Faculdade de Belas Artes da Universidade do Porto, Portugal.

Mccloud, S. (1993). Understanding Comics . Northampton: Kitchen Sink Press.

Park, J. G. (2009). Color perception in pediatric patient room design: healthy children vs. pediatric patients . Health Environments Research & Design Journal (HERD), 2(3).

Park, J. G. (2007). Environmental color for pediatric patient room design . Texas A&M University.

Rodrigues, C. (2013). Palavras e Imagens de Mãos Dadas. A Arquitetura do Álbum narrativo em Manuela Bacelar. Aveiro: Universidade de Aveiro.

Sherman-Bien, S. A., Malcarne, V. L., Roesch, S., Varni, J. W., & Katz, E. R. (2011). Quantifying the relationship among hospital design, satisfaction, and psychosocial functioning in a pediatric hematology - oncology inpatient unit . Health Environments Research & Design Journal (HERD), 4(4).

Sternberg, E. M. (2009). Healing spaces: The science of place and wellbeing . Harvard University Press.

Schinberger, Felix (2019). Ser Ilustrador . Gustavo Gili; São Paulo.

Ullán, A. M., & Manzanera, P. (2009). Las paredes cuentan: arte para humanizar un espacio de salud pediátrico . Arte, individuo y sociedad, 21, 123-142.

Vos, F. (2006). Building A Model Of Holistic Healing Environments For Children’s Hospitals With Implications For The Design And Management Of Children’s Hospitals (Doctoral dissertation, Thesis]. New York, NY: The City University of New York.

157\Nowadays, our ability to access information has increased significantly

in parallel with the development of technology. This increase also makes

it easier for us to consume faster. It is obvious that advertising also has a

significant share in consumption.

Every tool that enters the media aims to affect the society. Although

the effects of a digital game and an artistic activity through the media are

not the same, the general purpose is based on the concept of ‘influencing’.

(Eskier, 2017). The media use the power of design for messages that will be

more effective on society in this process. On the other hand, the use of social

and digital media by all segments, the speed of people accessing all kinds

of information via computers and mobile devices is of great importance,

especially in the advertising industry (Özgüven, 2013, s.14).

It can be considered that the main reason for the rapid growth of the

mobile device industry today is the introduction of smarter devices, smarter

software and faster connections with affordable pricing models. Although

these devices are physically shrinking with the latest technologies, it is

known that their computing power has increased (Garris ve Mishra, 2015, s.

18; Rowles, 2017, s. 52).

About the project

Today, many people and many stray animals are friends. We make every

effort to make them comfortable. The purpose of our project is to help people

learn the status of their pet friends on the streets instantly thanks to today’s

technologies. With this project, people will be able to easily follow their stray

animal friends and can access to the data about them as soon as possible.

In this project, the activities of stray animals (walking, running,

jumping, rolling, resting, sleeping, etc.) can be recorded and monitored

remotely. The ability to share information on social platforms, monitor and

record them instantly was provided with the prototype and related software

\Rethinking Futureof Design Through Social Responsibility.An Example of IoT Application for Stray Animals

Oğul Göç[email protected] UniversityEngineering FacultyTurkeyPelin Öztürk Göç[email protected] Ankara Hacı Bayram Veli UniversityFine Arts FacultyTurkey

keymordsinternet of thingsdesign social responsibility themesrethinking design towards new challengessocial and environmental responsibility

developed at the end of the project. In the project, a hardware, firmware, a

server application running on a computer and an application that can be used

on mobile devices has been developed. The hardware will collect data on pet

behavior and health status and transmitted to the computer and / or mobile

application, and this information can be transferred to the server and stored

for the purpose of preparing user reports. The project has been gathered

under two main titles. In addition to the development boards used in many

projects and industrial applications, relevant electronic circuit elements

will be used under the hardware tab. The software to be developed can be

divided into three types of software as embedded system software, mobile

application software and database application.

People may wonder about the status of their stray animal friends

during the day. Questions about what s/he does at that moment, what s/

he eats and drinks, daily movement activity, and general health status

may come to mind. In some cases, s/he may want to watch them live. With

this project, we designed a system that can record the above-mentioned

activities of both pets and street animals. With this project, which is planned

to be realized in this area where R&D and product deficiencies are high, it is

aimed to bring an economical solution to this need in the domestic market

Although the subjects covered by the project are mostly in the field of

engineering, designs made by visual communication designers were needed

for the interface design, which will establish one-to-one communication

with the user.

Why visual communication design?

Visual communication design is a creative process that aims to provide

communication solutions with the design language. In today’s design and

advertising fields, the traditional communication methods of the design are

inadequate and evolved as new media are born and form their own dynamics,

and old media interact with technology more rapidly and continuously.

This situation necessitated the emergence of new areas of expertise

in all new channels that could produce solutions to the design problem

between the product and the target audience. The most comprehensive of

these new areas is visual communication design.

New needs require new design solutions. Using user-centered

design, research and analysis techniques, it can be summarized as a field that

understands, explains and identifies user identities, prototypes, visual design

theories of the field, human behavior theories, psychology, market goals and

users’ needs.

Today, brands want to be on the side that understands their customers

as a natural result of strengthening competition and awareness of consumers.

For this reason, it is not enough for brands to move to digital media, in other

words, to digital channels, and it is inevitable that they communicate with

interesting and up-to-date designs that prioritize user experience.

In this case, it is a necessity for the visual communication designer to

make interface designs for digital platforms. Interface design aims to make

the most effective digital design with correct color, typography, composition,

prototype, by using basic coding languages such as html, css, java. The

user experience benefits from the platform created by the designer. Unlike

the user experience design, it focuses on the visual language of the design

instead of the user flow and strategies accordingly.

The design elements used describe the message in the most creative

and simplest way; to add an unprecedented innovation to the advertisement

for the target audience to feel valuable; understanding the user and designing

en

159\158\

it according to his needs; perceiving users’ characteristics and character

structure and conveying the message accordingly; having a structure that

people want to look and talk to; to be constructed in an intimate manner; by

creating positive images in memory, ensuring the brand’s long-term recall

will increase the success in the interface design.

Our Department of Visual Communication Design aims to educate

future designers who have the expertise to comprehend the complex visual

problems in the information society and to produce creative solutions

by systematically addressing them, blending their practical skills with

theoretical knowledge.

For this reason, the Department of Visual Communication Design

aimed to introduce students to different specialization branches by making

use of these design applied courses in photography studio and project

courses, as well as drawing-based courses such as illustration, basic design,

calligraphy, and created a comprehensive curriculum in this direction.

In addition to the photography studios, the project studio,

application studio and computer studio also involves the student in an

applied and collective work process where they can discover their potential

and develop their creativity.

In addition, it shapes the student within the framework of an

educational approach that prioritizes practice and production in digital

design, typography, photography, broadcast graphics, creative writing,

professional life, and packaging design. In addition to these, the application

of a program that can make creative studies in the fields of web design,

video and film technology, 3D design, animation, sound and motion image

and design, to students who specialize in communication in the developing

digital environment; In other words, the aim of developing a visual design

skill suitable for every vehicle containing image is the main difference of the

program from similar programs in other sections.

In this study, a group of computer engineering students developed

both hardware and software so that stray animals can be fed by volunteers

and other needs are met. Visual Communication design students designed

the visual interface of the software used in this system.

Project / IoT Application

This project, which can be summarized as a smart kennel, is an Internet

of Things (IoT) based social assistance project. With this project, the main

purpose is to provide a safe shelter for our friends, such as cats and

dogs, who have to live on the streets. It contributes to animal lovers and

volunteers to be able to observe from a distance and to feel the existence of

lives. It aims to enable volunteers to have their assistance easily accessible

to smart kennels and thus stray animals. The system built on this interaction

mechanism also allows volunteers - aid lovers to communicate with each

other through a platform in its infrastructure.

Both hardware and software have been developed within the scope

of the project so that stray animals can be fed by volunteers and other needs

can be met.

The smart kennel consists of four main modules integrated with

each other. These modules are; kennel , software and hardware embedded

in it, web-based desktop application and management system, mobile phone

application and finally a cloud-based system that enables these modules to

communicate and connect with each other.

Cloud based platform is a module that operates through Microsoft

Azure. It enables the items in the system to communicate with each other,

keeps the system-related data in the database on this platform, and offers

this data to the use of the modules within the system and ultimately connects

the three main modules of the project. In addition, backend software for the

necessary parts of the system works on this platform.

The mobile phone application is a platform that supports the

Android operating system that animal lovers and volunteers who want to

contribute to this project can download and use for free. With this application,

the user can instantly follow the food, water etc. needs of the desired club

and other information about the club. It can receive notifications about the

kennels placed on the streets. These notifications show application users

the temperature of the kennels, resources such as food and water that are

about to decrease, or how actively the kennel is used by animals. Volunteers

who follow the notifications can be assigned to meet the needs of any kennel

they choose closest to them or via the application. When it completes the

shortcomings, it saves the needs of the kennel through the application and

records it in the system by pressing the feedback button. The information

added to the database is distributed to all subscribers as instantaneous

information and the status of the booth on the system is changed as the

“need has been met” label. So other users now realize that that kennel doesn’t

need it and can focus on other kennels. In this way, the people involved in this

cooperation project can deliver their aid to our animal friends who are in need

more easily and accurately, via the Internet of Things infrastructure. There

are also social interactions such as forum sites, follow-up, adding pictures

and videos through the application. In this way, volunteers can turn their

challenges into other challenges, compete among themselves, and share

their transactions with other volunteers if they wish. These shares also bring

the socialization of people among each other. Many volunteers can expand

their social circle with those interested in this topic, possibly because they

feed their own pets.

The purpose of developing the web-based desktop application is to

transfer the kennel controls to small groups or to follow the controls of

these small groups from a single point. In this setup, users who can manage

each province, district, street and have more than a normal volunteer can be

created. The type of manager profile that can be created is 3 levels. It is in

the form of provincial officer, district officer and neighborhood officer, and is

ranked from the highest authority to the lowest authority.

The district manager has the right to access the technical

infrastructure of each dog kennel in his district, and when a new kennel is

included in the system, he has the right to record the geographical location

and physical characteristics of this dog kennel. At the same time, he also has

the authority to delete information about a kennel in the system.

District officer takes charge in determining and empowering the

administrators of the neighborhoods, that is, those responsible. It helps

these people with problems related to entry and exit to the web-based

system. When it is necessary to establish new animal kennels that the

neighborhoods need, they play the role of approval authorities. At the same

time, in the animal kennels they want to delete or add to, those responsible

of the neighborhood pass through the system before they are approved.

District officers are asked the most active volunteer users within their

jurisdiction to send a message over the system and ask if they want to be

a neighborhood officer. If these volunteers make a positive feedback, these

users are transmitted to the web-based system by the user responsible for

the username and password they can use.

Provincial officers consist of a single person who will provide online

technical support to district and neighborhood officers and work as the

161\160\

latest approval mechanism. This person is a super user for that province. He/

she can carry out operations such as accessing and deleting information about

the system, changing authority, adding authority, and defining a new district

manager for any type of person under his / her authority. Provincial officers

do not undertake lower level transactions such as the registration of kennels

into the system. This creates a distribution of tasks within the system. If it is

desired to increase the amount of kennels in a region, the only person who can

perform these operations is the neighborhood manager. Web-based desktop

application is generally used by different types of administrators to control,

monitor and register to the system when all dog kennels in a neighborhood,

province or city are added to the system. This program is not open to

volunteers. It is used only by people in the system administrator position.

A unique ID number is assigned to each animal kennel placed on a

street. This ID number is determined while it is being manufactured in that

kennel and recorded on the control card in it. The GSM module in the cabin,

which is fed by the solar panel and city network, is constantly connected to

the internet. It can send the water, food and heat information of the kennel

to the server over the mobile network periodicaly. When the server updates

the notification received from a kennel in the database, volunteer users are

informed about the situation via the mobile application.

The hardware part of this work is composed of a kennel and various

sensors connected to this house. The food in the cottage, food and feed

container is monitored by the kennel 24/7 and its information is recorded.

Each kennel has a unique ID number and each kennel can be connected to the

internet, making it possible to control the kennels placed across the street

and the city separately. The kennels keep the numbers of animals entering

and leaving with the sensors placed on their doors and record how actively

they are used. And they transmit this information to the server over the

mobile network.

On the way to combine this software and hardware with effective

design, students from Ankara Hacı Bayram Veli University Faculty of Fine

Arts Visual Communication Design Department created design solutions for

desktop (pic.1) and mobile (pic.2).

The important point for the researchers here was to ensure that the

designer and software developer collaboration, which is often needed today,

is still experienced during the student phase. Today, the need for design-

oriented creative individuals who can use technology and design processes

both for their own benefit and for the society they live in is obvious. It is very

important that students have a vision that can understand each other’s

language, develop the practice of working with different disciplines for

common goals, think design-oriented and add value to the society they are in.

As a result

Just knowing is no longer enough. We are at a time when designing, making,

producing, problem solving, critical thinking, productivity, teamwork skills

come to the fore. As Nathan (2009) said, one of the most important and

seemingly simple design principles developers can employ is to make sure

that the things they design are usable.

Many new ideas are competing with each other in the software

world to come to life. Although good ideas are always one step ahead, the

effect of good design is undeniable.

The task of the designer is to effectively convey the message of the

project to the target audience using visual communication design disciplines

and inspirational ideas. Designers must understand today’s challenges. They

Picture 1

web interface design for

the project

Picture 2

mobile interface design for

the project

162\

use typography, symbols, colors, images, and can use software languages

such as html / css to convey a message or create emotion. As Dunne, Raby

(2013) suggest, “design can allow an individual to open windows on the

future in order to better understand the present”.

Today’s world, surrounded by technology, is rapidly evolving

towards a period where many fields are becoming more and more digital.

The chances of both designers and software developers working as part of

the same team are increasing day by day.

With this project, it was possible for software and design students

to search for solutions together for one of the main problems of our country.

This has enabled them to take a good step in the name of the design and

the future of the design. As a result of this project, it is thought that a

basic structure that can be adapted for different social problems in various

countries of the world has been created by the researchers.

References

Dunne, A., Raby, F. (2013). Speculative Everything: Design, Fiction, and Social Dreaming. The MIT Press.

Eskier, U. (2019). Medya Nedir? Topluma Etkileri Nelerdir? Web: https://www.makaleler.com/medya-nedir

Garris, M., & Mishra, K. (Editors). (2015). A beginners guide to mobile marketing. (First Edition). New York: Business Expert

Özgüven, N. (2013). Mobil pazarlama ve mobil reklam tüketicilerin mobil reklamcılığa karşı tutumlarının analizi. (1. Baskı). Bursa: Dora

Rowles, D. (2017). Mobile marketing: how mobile technology is revolutionizing marketing, communications and advertising. (Second Edition). Philadelphia: Kogan Page.

Nathan, S. (2009). Design Is The Problem: The Future of Design Must be Sustainable. Rosenfeld Media. Brooklyn, New York.

165\Günümüz teknolojisi, hayatın her alanını etkilemekte ve dönüştürmektedir.

Yakın zamana kadar nesnelerin interneti kavramı hayatımıza girerken,

insanların birbirleriyle cihazlar aracılığıyla etkileşime girmesi bir yenilik.

Nesnelerin İnterneti, nesnelerin birbirleriyle ve çevreleriyle iletişim

kurmasını sağlayan teknolojik bir gelişme olarak adlandırılabilir. Nesnelerin

interneti, bugün birçok alan için dönüşüm teknolojisi haline gelmiştir.

Nesnelerin İnterneti, endüstriyel otomasyon, sağlık hizmetleri, bina ve ev

otomasyonundan ulaşım ve kamu hizmetlerine kadar geniş bir uygulama

yelpazesine sahiptir. Her alanda oldukça sıra dışı deneyimler sunmaktadır.

Tasarım, detayları ile insanların daha konforlu ve kaliteli bir yaşam

sürmelerine yardımcı olur. Öte yandan, nesnelerin internet üzerinden iletişimi

yeni tasarım problemlerini beraberinde getirmektedir. Bu sorunlar için hangi

tasarım çözümlerinin bulunacağı, tasarımın geleceğini şekillendirecektir.

Bu çalışmada tasarımın geleceği sosyal sorumluluk bağlamında

ve nesnelerin interneti teknolojisi kullanılarak tartışılmıştır. Nesnelerin

interneti teknolojisi kullanılarak, sosyal sorunlara önemli çözümler

sunabilecek ve dikkat çekebilecek bir sosyal sorumluluk projesinin hayata

geçirilmesi hedeflenmektedir. Ülkemizde “sokak hayvanları sorunu” olarak

bilinen köklü bir yanlış, temelde hayvan hakları ve hayvan refahı sorunu

olan yaygın bir sorundur.

Ülkemizde hayvanları hayatın bir parçası olarak gören ve hayvanları

tehdit olarak gören iki farklı yaklaşım nedeniyle çözüm odaklı projeler

yıllardır uygulanmamaktadır. Bu çalışmada öğrencilerimizle sokakta

yaşayan hayvanlar için tasarlanan nesnelerin interneti uygulaması örnek

olarak incelenmiştir.

Giriş

Günümüzde teknolojinin gelişmesine paralel olarak bilgiye erişim

kabiliyetimiz önemli ölçüde artmıştır. Bu artış aynı zamanda daha hızlı

\Sosyal Sorumluluk ile Tasarımın Geleceğini Yeniden DüşünmeSokak Hayvanları İçin Nesnelerin İnterneti Altyapısına Sahip Bir Uygulama ve Tasarımı

Oğul Göç[email protected] Başkent Üniversitesi Mühendislik Fakültesi, Bilgisayar Mühendisliği BölümüTürkiyePelin Öztürk Göç[email protected] Hacı Bayram Veli Üniversitesi, Güzel Sanatlar Fakültesi Görsel İletişim Tasarımı BölümüTürkiye


tüketmemizi de kolaylaştırmaktadır. Reklamın tüketimde de önemli bir paya

sahip olduğu aşikardır.

Medyaya giren her araç toplumu etkilemeyi amaçlar. Dijital bir oyun

ile sanatsal bir faaliyetin medya üzerinden etkileri aynı olmasa da genel amaç

‘etkileme’ kavramına dayanmaktadır. (Eskier, 2017). Medya, bu süreçte toplum

üzerinde daha etkili olacak mesajlar için tasarımın gücünü kullanır. Öte yandan

sosyal ve dijital medyanın tüm kesimler tarafından kullanılması, insanların

her türlü bilgiye bilgisayar ve mobil cihazlar üzerinden erişim hızı özellikle

reklamcılık sektöründe büyük önem taşımaktadır (Özgüven, 2013, s.14).

Günümüzde mobil cihaz sektörünün hızlı büyümesinin temel

sebebinin daha akıllı cihazların, daha akıllı yazılımların ve uygun fiyatlı

modellerle daha hızlı bağlantıların devreye girmesi olduğu düşünülebilir. Bu

cihazlar son teknolojilerle fiziksel olarak küçülse de bilgi işlem güçlerinin

arttığı bilinmektedir (Garris ve Mishra, 2015, s.18; Rowles, 2017, s.52).

Proje hakkında

Bugün birçok insanın sokakta yaşayan bir evcil hayvan arkadaşı var. Onları

rahat ettirmek için her türlü çabayı gösteriyoruz. Projemizin amacı, günümüz

teknolojileri sayesinde insanların sokaktaki evcil dostlarının durumunu anında

öğrenmelerine yardımcı olmaktır. Bu proje ile kişiler sokakta yaşayan evcil

hayvan arkadaşlarını kolaylıkla takip edebilecek ve evcil hayvan arkadaşları

ile ilgili verilere en kısa sürede ulaşabileceklerdir.

Bu projede sokakta yaşayan evcil hayvan dostlarımızın aktiviteleri

(yürüme, koşma, atlama, yuvarlanma, dinlenme, uyku vb.) Uzaktan kayıt ve

takip edilebilmektedir. Proje sonunda geliştirilen prototip ve ilgili yazılımlar

ile sosyal platformlarda bilgi paylaşma, anında izleme ve kaydetme imkanı

sağlanmıştır.

Projede bir donanım, yazılım, bilgisayarda çalışan bir sunucu

uygulaması ve mobil cihazlarda kullanılabilecek bir uygulama geliştirilmiştir.

Donanım, evcil hayvan davranışı ve sağlık durumu ile ilgili verileri toplayacak

ve bilgisayara ve / veya mobil uygulamaya iletecek ve bu bilgiler sunucuya

aktarılıp kullanıcı raporlarının hazırlanması amacıyla saklanabilecektir. Proje

iki ana başlık altında toplanmıştır. Pek çok proje ve endüstriyel uygulamada

kullanılan geliştirme kartlarının yanı sıra ilgili elektronik devre elemanları

donanım sekmesi altında kullanılacaktır. Geliştirilen yazılım, gömülü sistem

yazılımı, mobil uygulama yazılımı ve veri tabanı uygulaması olarak üç tip

yazılıma ayrılabilir.

İnsanlar evcil dostlarının durumunu gün içerisinde merak edebilirler.

O anda ne yaptığı, ne yiyip içtiği, günlük hareket aktivitesi, genel sağlık

durumu ile ilgili sorular akıllarına gelebilir. Bazı durumlarda onları canlı

izlemek isteyebilir. Geliştirilen bu proje ile hem evcil hayvanların hem de

sokak hayvanlarının yukarıda belirtilen aktiviteleri kayıt altında tutabilecek

bir sistem tasarladık. Ar-Ge ve ürün eksikliklerinin yüksek olduğu bu alanda

gerçekleştirilmesi planlanan bu proje ile iç pazardaki bu ihtiyaca ekonomik bir

çözüm getirilmesi hedeflenmektedir.

Projenin kapsadığı konular çoğunlukla mühendislik alanında olmakla

birlikte, kullanıcı ile birebir iletişim kuracak arayüz tasarımı için görsel iletişim

tasarımcıları tarafından yapılan tasarımlara ihtiyaç duyulmuştur.

Neden görsel iletişim tasarımı?

Görsel iletişim tasarımı, tasarım dili ile iletişim çözümleri sunmayı amaçlayan

yaratıcı bir süreçtir. Günümüz tasarım ve reklamcılık alanlarında, yeni

medyanın kendi dinamiklerini oluşturması ve eski medyanın teknoloji ile daha

tr

167\166\

hızlı ve sürekli etkileşime girmesiyle tasarımın geleneksel iletişim yöntemleri

yetersiz kalmaktadır.

Bu durum, ürün ile hedef kitle arasındaki tasarım sorununa çözüm

üretebilecek tüm yeni kanallarda yeni uzmanlık alanlarının ortaya çıkmasını

zorunlu kılmıştır. Bu yeni alanların en kapsamlısı görsel iletişim tasarımıdır.

Yeni ihtiyaçlar, yeni tasarım çözümleri gerektirir. Kullanıcı merkezli

tasarım, araştırma ve analiz tekniklerini kullanarak, alanın kullanıcı

kimliklerini, prototiplerini, görsel tasarım teorilerini, insan davranış teorilerini,

psikolojisini, pazar hedeflerini ve kullanıcıların ihtiyaçlarını anlayan, açıklayan

ve tanımlayan bir alan olarak özetlenebilir.

Günümüzde markalar, rekabeti ve tüketici bilincini güçlendirmenin

doğal bir sonucu olarak müşterilerini anlayan tarafta olmak istiyor. Bu

nedenle markaların dijital ortama yani dijital kanallara geçmesi yeterli

olmayıp, kullanıcı deneyimini ön planda tutan ilginç ve güncel tasarımlarla

iletişim kurmaları kaçınılmazdır.

Bu durumda görsel iletişim tasarımcısının dijital platformlar için

arayüz tasarımları yapması bir zorunluluktur. Arayüz tasarımı html, css, java

gibi temel kodlama dillerini kullanarak doğru renk, tipografi, kompozisyon,

prototip ile en etkili dijital tasarımı yapmayı amaçlamaktadır. Kullanıcı

deneyimi, tasarımcı tarafından oluşturulan platformdan yararlanır. Kullanıcı

deneyimi tasarımından farklı olarak, kullanıcı akışı ve buna göre stratejiler

yerine tasarımın görsel diline odaklanır.

Kullanılan tasarım öğeleri, mesajı en yaratıcı ve en basit şekilde

tanımlar; hedef kitlenin kendini değerli hissetmesi için reklama eşi görülmemiş

bir yenilik katmak; kullanıcıyı anlamak ve ihtiyaçlarına göre tasarlamak;

kullanıcıların özelliklerini ve karakter yapısını algılamak ve mesajı buna

göre iletmek; insanların bakmak ve konuşmak isteyeceği bir yapıya sahip

olmak; samimi bir şekilde inşa edilecek; Hafızada olumlu imajlar oluşturarak

markanın uzun vadeli hatırlanmasının sağlanması arayüz tasarımındaki

başarıyı artıracaktır.

Görsel İletişim Tasarımı Bölümümüz, bilgi toplumundaki karmaşık

görsel sorunları kavrayacak uzmanlığa sahip geleceğin tasarımcıları

yetiştirmeyi ve bunları sistematik bir şekilde ele alarak, pratik becerilerini

teorik bilgilerle harmanlayarak yaratıcı çözümler üretmeyi amaçlamaktadır.

Bu nedenle Görsel İletişim Tasarımı Bölümü, fotoğraf stüdyosu

ve proje derslerinde bu tasarım uygulamalı derslerin yanı sıra illüstrasyon,

temel tasarım, kaligrafi gibi çizim temelli derslerden de yararlanarak

öğrencileri farklı uzmanlık dallarıyla tanıştırmayı amaçlamış olup, bu yönde

kapsamlı bir müfredat oluşturmuştur.

Fotoğraf stüdyolarının yanı sıra proje stüdyosu, uygulama stüdyosu

ve bilgisayar stüdyosu da öğrenciyi potansiyellerini keşfedebilecekleri ve

yaratıcılıklarını geliştirebilecekleri uygulamalı ve toplu bir çalışma sürecine

dahil etmektedir.

Ayrıca dijital tasarım, tipografi, fotoğraf, yayın grafikleri, yaratıcı

yazarlık, profesyonel yaşam ve ambalaj tasarımında uygulama ve üretimi ön

planda tutan bir eğitim yaklaşımı çerçevesinde öğrenciyi şekillendirir. Bunların

yanı sıra gelişen dijital ortamda iletişim konusunda uzmanlaşan öğrencilere

web tasarım, video ve film teknolojisi, 3 boyutlu tasarım, animasyon, ses

ve hareketli görüntü ve tasarım alanlarında yaratıcı çalışmalar yapabilecek

bir programın uygulanması; yani görüntü içeren her araca uygun görsel

tasarım becerisi geliştirme amacı, programın diğer bölümlerdeki benzer

programlardan temel farkıdır.

Bu çalışmada, bir grup bilgisayar mühendisliği öğrencisi, başıboş

hayvanların gönüllüler tarafından beslenebilmesi ve diğer ihtiyaçların

karşılanması ve takibi için hem donanım hem de yazılım geliştirdiler. Görsel

İletişim tasarımı öğrencileri ise bu sistemde kullanılan yazılımların görsel

arayüzlerini tasarlamışlardır.

Proje / IoT Uygulaması

Akıllı kulübe olarak özetlenebilecek bu proje, Nesnelerin İnterneti (IoT)

tabanlı bir sosyal yardım projesidir. Bu proje ile kedi, köpek gibi sokaklarda

yaşamak zorunda kalan dostlarımıza güvenli bir barınak sağlamak temel

amaçtır. Hayvanseverlerin ve gönüllülerin uzaktan gözlemleyebilmelerine

ve hayatların varlığını hissetmelerine katkı sağlar. Gönüllülerin yardımlarını

akıllı kulübelere ve böylece başıboş hayvanlara kolayca eriştirmelerini

sağlamayı amaçlamaktadır. Bu etkileşim mekanizması üzerine inşa edilen

sistem, aynı zamanda gönüllülerin - yardım severlerin bir platform altyapısı

aracılığıyla birbirleriyle iletişim kurmasına da olanak sağlamaktadır.

Akıllı kulübe, birbiri ile entegre dört ana modülden oluşur. Bu modüller;

kulübe ve içine gömülü yazılım ve donanım, web tabanlı masaüstü uygulama

ve yönetim sistemi, cep telefonu uygulaması ve son olarak bu modüllerin

birbirleriyle iletişim ve bağlantı kurmasını sağlayan bulut tabanlı bir sistem.

Bulut tabanlı platform, Microsoft Azure üzerinden çalışan bir

modüldür. Sistemdeki öğelerin birbirleri ile haberleşmesini sağlar, sistemle

ilgili verileri bu platform üzerinde veritabanında tutar ve bu verileri sistem

içindeki modüllerin kullanımına sunar ve sonuçta projenin üç ana modülünü

birbirine bağlar. Ayrıca sistemin gerekli kısımları için backend yazılımı bu

platform üzerinde çalışmaktadır.

Cep telefonu uygulaması, bu projeye katkıda bulunmak isteyen

hayvan severlerin ve gönüllülerin ücretsiz olarak indirip kullanabileceği

Android işletim sistemini destekleyen bir platformdur. Bu uygulama ile

kullanıcı, istediği kulübün yemek, su vb ihtiyaçlarını ve kulüp ile ilgili diğer

bilgileri anlık olarak takip edebilir. Sokaklara yerleştirilen köpek kulübeleri

ile ilgili bildirim alabilir. Bu bildirimler, uygulama kullanıcılarına kulübelerin

sıcaklığını, azalmak üzere olan yiyecek ve su gibi kaynakları veya kulübenin

hayvanlar tarafından ne kadar aktif kullanıldığını gösterir. Bildirimleri takip

eden gönüllüler, kendilerine en yakın seçtikleri herhangi bir kulübenin

ihtiyaçlarını karşılayacak şekilde veya uygulama üzerinden görevlendirilebilir.

Eksikleri tamamladığında uygulama üzerinden kulübenin ihtiyaçlarını

kaydeder ve geri bildirim butonuna basarak sisteme kayıt eder. Veri tabanına

eklenen bilgiler tüm abonelere anlık bilgi olarak dağıtılır ve sistem üzerindeki

durumu “ihtiyaç karşılandı” etiketi ile değiştirilir. Böylece diğer kullanıcılar artık

bu kulübenin buna ihtiyacı yoktur ve diğer köpek kulübelerine odaklanabilir.

Böylelikle bu işbirliği projesine dahil olan kişiler, ihtiyaç duyan hayvan

dostlarımıza nesnelerin interneti altyapısı üzerinden yardımlarını daha kolay

ve doğru bir şekilde ulaştırabilirler. Uygulama üzerinden forum siteleri, takip,

resim ve video ekleme gibi sosyal etkileşimler de bulunmaktadır. Bu şekilde

gönüllüler, zorluklarını başka zorluklara dönüştürebilir, kendi aralarında

rekabet edebilir ve isterlerse işlemlerini diğer gönüllülerle paylaşabilirler. Bu

paylaşımlar aynı zamanda insanların sosyalleşmesini de beraberinde getirir.

Birçok gönüllü, muhtemelen kendi evcil hayvanların beslendikleri için bu

konuyla ilgilenen kişiler ile sosyal çevrelerini genişletebilir.

Web tabanlı masaüstü uygulamasını geliştirmenin amacı, köpek

kulübesi kontrollerini küçük gruplara aktarmak veya bu küçük grupların

kontrollerini tek bir noktadan takip etmektir. Bu kurguda her ili, ilçeyi, caddeyi

yönetebilen ve normalden fazla gönüllüye sahip kullanıcılar oluşturulabilir.

Oluşturulabilen yönetici profilinin türü 3 düzeydir. İl memuru, ilçe memuru

ve mahalle memuru şeklinde olup, en yüksek otoriteden en düşük otoriteye

doğru sıralanır.

169\168\

Bölge müdürü, ilçesindeki her köpek kulübesinin teknik altyapısına

erişme hakkına sahiptir ve sisteme yeni bir köpek kulübesi eklendiğinde,

bu köpek kulübesinin coğrafi konumunu ve fiziksel özelliklerini kaydetme

hakkına sahiptir. Aynı zamanda sistemdeki bir köpek kulübesi hakkındaki

bilgileri silme yetkisine de sahiptir.

Mahalle memurları, mahalle yöneticilerinin yani sorumlularının

belirlenmesi ve yetkilendirilmesinden sorumludur. Bu kişilere web tabanlı

sisteme giriş ve çıkış ile ilgili problemlerde yardımcı olur. Mahallelerin ihtiyaç

duyduğu yeni hayvan barınakları kurmak gerektiğinde, onay makamlarının

rolünü oynarlar. Aynı zamanda silmek veya eklemek istedikleri hayvan

barınaklarını mahalle sorumluları onaylamadan sistemden geçerler. Bölge

memurlarından, yetki alanlarındaki en aktif gönüllü kullanıcılardan sistem

üzerinden bir mesaj göndermeleri ve mahalle memuru olmak isteyip

istemediklerini sormaları istenir. Bu gönüllüler olumlu bir geri bildirimde

bulunursa, bu kullanıcıların kullanabilecekleri kullanıcı adı ve şifre sorumlu

kullanıcı tarafından web tabanlı sisteme iletilir.

İl memurları, ilçe ve mahalle memurlarına çevrimiçi teknik destek

sağlayacak ve en son onay mekanizması olarak çalışan tek bir kişiden oluşur.

Bu kişi o eyaletin süper kullanıcısıdır. Sistemle ilgili bilgilere ulaşma ve silme,

yetki değiştirme, yetki ekleme, yetkisi altındaki her türlü kişi için yeni bir ilçe

müdürü tanımlama gibi işlemleri yapabilir. İl memurları, köpek kulübelerinin

sisteme kaydı gibi alt düzey işlemleri üstlenmezler. Bu, sistem içinde bir görev

dağılımı yaratır. Bir bölgede köpek kulübesi sayısının artırılması isteniyorsa

bu işlemleri yapabilecek tek kişi mahalle müdürüdür. Web tabanlı masaüstü

uygulaması genellikle bir mahalle, il veya şehirdeki tüm kulübeler yeni

eklendiğinde sistemi kontrol etmek, izlemek ve sisteme kaydolmak için farklı

yönetici türleri tarafından kullanılır. Bu program gönüllülere açık değildir.

Yalnızca sistem yöneticisi konumundaki kişiler tarafından kullanılır.

Bir sokağa yerleştirilen her bir hayvan kulübesine benzersiz bir

kimlik numarası atanır. Bu kimlik numarası, o kulübede üretilirken belirlenir ve

içindeki kontrol kartına kaydedilir. Güneş paneli ve şehir şebekesi ile beslenen

kabin içerisindeki GSM modülü sürekli olarak internete bağlıdır. Kulübenin

su, yiyecek ve ısı bilgilerini periyodik olarak mobil ağ üzerinden sunucuya

gönderebilir. Sunucu, veri tabanında bulunan bir kulübeden gelen bildirimi

güncellediğinde, gönüllü kullanıcılar mobil uygulama üzerinden durumdan

haberdar edilmektedir.

Bu işin donanım kısmı bir köpek kulübesi ve bu eve bağlı çeşitli

sensörlerden oluşmaktadır. Kulübede, yiyecek ve yem kabında bulunan

yiyecekler, köpek kulübesi tarafından 7/24 izlenir ve bilgileri kaydedilir.

Her kulübenin benzersiz bir kimlik numarası vardır ve her köpek kulübesi

internete bağlanabilir, böylece cadde ve şehrin karşısına yerleştirilen köpek

kulübelerinin ayrı ayrı kontrol edilmesi mümkün olur. Kulübeler kapılarına

yerleştirilen sensörler ile giren ve çıkan hayvanların sayısını tutar ve ne

kadar aktif kullanıldıklarını kayıt altına alır. Ve bu bilgiyi mobil ağ üzerinden

sunucuya iletirler.

Bu yazılım ve donanımı etkili tasarımla birleştirme yolunda Ankara

Hacı Bayram Veli Üniversitesi Güzel Sanatlar Fakültesi Görsel İletişim Tasarımı

Bölümü öğrencileri masaüstü (şek.1) ve mobil (şek.2) için tasarım çözümleri

oluşturdu.

Burada araştırmacılar için önemli olan nokta, günümüzde sıklıkla

ihtiyaç duyulan tasarımcı ve yazılım geliştirici işbirliğinin öğrenci aşamasında

hala yaşanmasını sağlamaktı. Günümüzde teknoloji ve tasarım süreçlerini

hem kendi çıkarları için hem de içinde yaşadıkları toplum için kullanabilen

tasarım odaklı yaratıcı bireylere duyulan ihtiyaç ortadadır. Öğrencilerin

birbirlerinin dilini anlayabilen, ortak hedefler için farklı disiplinlerle çalışma

Resim 1

Proje için web arayüz

tasarımı for the project

Resim 2

Proje için mobil arayüz

tasarımı

170\

pratiğini geliştiren, tasarım odaklı düşünen ve içinde bulundukları topluma

değer katan bir vizyona sahip olmaları çok önemlidir.

Sonuç

Sadece bilmek artık yeterli değil. Tasarlama, yapma, üretme, problem çözme,

eleştirel düşünme, üretkenlik, takım çalışması becerilerinin ön plana çıktığı

bir dönemdeyiz. Nathan’ın (2009) dediği gibi, geliştiricilerin kullanabileceği

en önemli ve görünüşte basit tasarım ilkelerinden biri, tasarladıkları şeylerin

kullanılabilir olduğundan emin olmaktır.

Yazılım dünyasında birçok yeni fikir hayata geçmek için birbiriyle

yarışıyor. İyi fikirler her zaman bir adım önde olsa da, iyi tasarımın etkisi

yadsınamaz.

Tasarımcının görevi, görsel iletişim tasarım disiplinleri ve ilham verici

fikirleri kullanarak projenin mesajını hedef kitleye etkin bir şekilde iletmektir.

Tasarımcılar günümüzün zorluklarını anlamalıdır. Tipografi, semboller,

renkler, resimler kullanırlar ve bir mesajı iletmek veya duygu yaratmak için

html / css gibi yazılım dillerini kullanabilirler. Dunne, Raby’nin (2013) önerdiği

gibi, “tasarım, bir bireyin bugünü daha iyi anlamak için gelecekte pencereler

açmasına izin verebilir”.

Teknolojiyle çevrili günümüz dünyası, birçok alanın giderek daha

dijital hale geldiği bir döneme doğru hızla gelişiyor. Hem tasarımcıların hem

de yazılımcıların aynı ekibin parçası olarak çalışma şansı her geçen gün artıyor.

Bu proje ile yazılım ve tasarım öğrencilerinin ülkemizin temel

sorunlarından birine birlikte çözüm aramaları mümkün oldu. Bu onların

tasarım adına ve tasarımın geleceği adına iyi bir adım atmalarını sağladı.

Bu proje sonucunda araştırmacılar tarafından dünyanın çeşitli ülkelerinde

farklı sosyal sorunlara uyarlanabilecek temel bir yapı oluşturulmuş olduğu

düşünülmektedir.

Kaynakça

Dunne, A., Raby, F. (2013). Speculative Everything: Design, Fiction, and Social Dreaming. The MIT Press.

Eskier, U. (2019). Medya Nedir? Topluma Etkileri Nelerdir? Web: https://www.makaleler.com/medya-nedir

Garris, M., & Mishra, K. (Editors). (2015). A beginners guide to mobile marketing. (First Edition). New York: Business Expert

Özgüven, N. (2013). Mobil pazarlama ve mobil reklam tüketicilerin mobil reklamcılığa karşı tutumlarının analizi. (1. Baskı). Bursa: Dora

Rowles, D. (2017). Mobile marketing: how mobile technology is revolutionizing marketing, communications and advertising. (Second Edition). Philadelphia: Kogan Page.

Nathan, S. (2009). Design Is The Problem: The Future of Design Must be Sustainable. Rosenfeld Media. Brooklyn, New York.

173\“CARTONea: New Trends in Sustainable Furniture Ecodesign and Interior

Design with Cardboard” is the name chosen, at the beginning of the course,

to present the project in the 2019-2020 annual call for projects eligible for

funding by the Junta de Castilla y León and by the European Social Fund (ESF),

to offer students, among other options, the possibility of direct learning by

companies. These projects must be carried out in public educational centers

and within the Action co-financed by the ESF, in the so-called Operational

Program of the ESF of Castilla y León 2014-2020.

The resolution of the call awarded for the first time the subsidy for

the realization of a project of these characteristics in the School of Art and

Superior C.R.B.C. Mariano Timón de Palencia.

CARTONea = cartón en la escuela de arte

The idea of the Project consists of the close collaboration of the students

of the Superior Cycles of Furnishing and Joinery with relevant Spanish

companies in the sustainable design sector that are already designing using

cardboard and its derivatives as the main raw material; CartonLab being one

of the most outstanding companies. Within the same framework, a series

of talks and conferences were planned where students could learn directly

from project proposals and ephemeral architecture based on the use of

cardboard as the main material, such as those they have been carrying out,

among many others, the EfimerARQ collective since 2013. This collective is

made up of five architects, mostly teachers, who work and research in the

execution of ephemeral assemblies with recyclable materials, among which

are cardboard, pallets, etc.

The first of the planned activities within the scope of the project

was the realization of a furniture construction workshop using cardboard at

the facilities of the School of Art and Superior Mariano Timón de Palencia by

CartonLab as the main element between the months of March. and April and

\Cardboard Design Learning under Covid-19 Pandemic

Alicia Cerdá [email protected] and Superior Schoolof Conservation and Restorationof Cultural Assets Mariano Timón PalenciaCastilla y LeónSpain

keymordsecodiseñopaperboardclassroom-companythemesethics and design(ir)responsibility of designthe role of education for good designsustainability

en

that finally, due to the measures taken to prevent the spread of COVID-19. it

has not been carried out.

Also, another of the planned activities was a conference in which one

of the components of the aforementioned EfimerARQ was going to instruct

the students with his experiences in sustainable design based on the use of

cardboard in the leading role; sadly this will not be possible either.

Thanks to these workshops and talks, it was intended that the

students could incorporate the cardboard into real projects and that these

projects would later can be shown in different exhibitions that are held

annually in the city of Palencia with which the School of Art and Superior

Mariano Timón uses to collaborate every year. These exhibitions are

fundamentally: “Somos Joyería”, an event held every May to show the work

of Jewelery students from different Art and Design schools, both nationally

and internationally, exhibitions in which in previous editions ESAD students

Matosinhos have participated; “ Desenfocados” and “ Exposición anual de

los trabajos realizados durante el curso”, events that take place during the

month of June. Unfortunately, these events are also not going to be possible

due to the restrictions imposed to stop the Coronavirus COVID-19 pandemic.

Students are the focus in this teaching process, since they are the

target of proposals and initiatives and their participation is essential besides

that of the teachers involved with our different proficiency and expertise in

our different subjects, which can be really enriching for our students. The

business perspective in design is fundamental for the students of these

courses and, through these cooperation and support activities provided with

the participation of companies and professionals in the sector, it is intended

to reinforce, in addition to their training, their ability to start up in the future.

Cardboard had been chosen as the protagonist of these different

formations as it was one of the most sustainable materials for consumption

and design. To this it must be added its versatility, lightness and resistance,

and, it is especially important to highlight, its ecological character. Despite

all these benefits, the possibilities of cardboard for the future in the design

of furniture and environments in interior design and ephemeral architecture

are still to be discovered. Furniture in cardboard, once used, can have a

new use thanks to recycling or reuse, as long as the cardboard remains in

good condition. The cardboard projects also redistribute and transform the

space in the blink of an eye. In the case of furniture, it should be noted its

ease of transport, assembly, storage and even, whenever a good design has

been planned, the use of glues is not necessary, since by folding assemblies

or using parts Auxiliaries (designed in 3D or conventional such as ropes,

flanges, hooks, clamps, etc.) very interesting three-dimensional modular

structures can be made.

For a small school like ours, the Palencia School of Art and Superior

C.R.B.C. Mariano Timón, receiving funding for this type of initiative is a unique

opportunity, not only because of the opportunity it provides for improving the

apprenticeship of students and enriching their training experience, but also for

the school itself. a boost in terms of the provision of tools that can be used

from now on and for the next years by the coming student promotions, since,

thanks to the funding provided, it has been possible to purchase a laser cutter,

NomadTech brand, which is already available to students and thanks to which

the students have already started to make some pieces for their projects.

Why sustainable design with cardboard?

Transmitting this experience to other educational environments within

the framework of ERASMUS+ relationships was a fabulous opportunity to

174\

divulge our small contribution, from the School of Art, to eco-design and to

sustainability in interior design. Through interdisciplinary learning between

different modules of different Training Cycles and with Companies, students

acquire the knowledge, awareness and, perhaps, a real commitment to

minimize the environmental impact when designing.

Unhappily, all these activities foreseen and planned with such

enthusiasm, have been truncated for this 2019-2020 course, and, although

we will not be able to carry them out during this school year and the students

have not been able to enjoy the benefits programmed by the Aula-Empresa

Project (Workshop-Company), we want to highlight the positive aspects.

One of them has been, for example, that the expectations generated have

left their mark on our students and that in the future they will influence their

ability to give the best of themselves in the creation of their furniture and

interior design projects. It is also worth pointing out that the obtaining of

business, personal and associations contacts, which will facilitate, in the

near future, collaboration with the School in initiatives with similar themes

that we will surely be able to carry out. Another factor to be highlighted is

the aforementioned supply of specific machinery that has been obtained

thanks to the ESF Operational Program in Castilla y León, which has allowed,

and will allow in the future, the incorporation of this type of infrastructure,

furniture, etc. in the projects developed in the center by the students and

that opens up a new range of possibilities for what will be the design of the

future and which is also the most advanced of the present.

So, we hope that the spirit of CARTONea continues in the next school

years and we can show the sustainable proposals that our next generations

will build.

Bibliography

Moxon, Siân (2012). Sostenibilidad en Interiorismo. Barcelona. Editorial Blume.

Sánchez Campos, Roberto (2016). Arquitecturas efímeras con cartón: El caso de la village en carton de Guy Rottier. Trabajo de Fin de Grado.

Webgraphy

https://blog.bellostes.com/

https://efimerarq.blogspot.com/search/label/cartón

https://cartonlab.com

https://dimad.org/love-carton-2/

https://molodesign.com

https://nomadtech.es/es/

“CARTONea: Nuevas Tendencias en Ecodiseño Sostenible de Mobiliario e In-

teriorismo con Cartón” es la denominación que se eligió, a principio de curso,

para presentar el proyecto en la convocatoria anual 2019-2020 de proyec-

tos subvencionables por la Junta de Castilla y León y por el Fondo Social Euro-

peo (FSE), para ofrecer a los alumnos, entre otras opciones, la posibilidad de

aprendizaje directo de las empresas. Estos proyectos se han de desarrollar en

los centros docentes públicos y dentro de la Actuación cofinanciada por el FSE,

en el denominado Programa Operativo del FSE de Castilla y León 2014-2020.

La resolución de la convocatoria otorgaba por primera vez la sub-

vención para la realización de un proyecto de estas características en la Es-

cuela de Arte y Superior C.R.B.C. Mariano Timón de Palencia.

CARTONea = cartón en la escuela de arte

La idea del Proyecto consiste en la colaboración estrecha de los alumnos de

los Ciclos Superiores de Amueblamiento y de Ebanistería con empresas es-

pañolas relevantes en el sector del diseño sostenible que ya están realizan-

do diseño utilizando como materia prima principal el cartón y sus derivados;

siendo la empresa CartonLab una de las más destacadas. En el mismo marco

se planificó la celebración de una serie de charlas y conferencias donde los

alumnos pudieran aprender directamente de las propuestas de proyectos

y de arquitectura efímera basadas en la utilización del cartón como mate-

rial principal, como las que llevan realizando, entre otros muchos, el colecti-

vo EfimerARQ desde 2013. Este colectivo está formado por cinco arquitectos,

docentes en su mayoría, que trabajan e investigan en la ejecución de monta-

jes efímeros con materiales reciclables entre los que se encuentran el car-

tón, pallets, etc.

La primera de las actividades planificadas en el ámbito del proyec-

to era la realización de un taller de construcción de mobiliario usando como

elemento principal el cartón en las instalaciones de la Escuela de Arte y Su-

\Diseño Sostenible con Cartón Bajo la Amenazade la Pandemia Covid-19

Alicia Cerdá [email protected] de Arte y Superiorde Conservación y Restauraciónde Bienes CulturalesMariano Timón de PalenciaCastilla y LeónEspaña


de 177/

perior Mariano Timón de Palencia por parte de CartonLab entre los meses de

marzo y abril y que finalmente, debido a las medidas tomadas para evitar la

propagación del COVID-19. no se ha llegado a realizar.

Asimismo, otra de las actividades planificadas iba a ser la conferen-

cia para que uno de los componentes del referido anteriormente EfimerARQ,

ilustrase a los alumnos con sus experiencias en diseño sostenible basándo-

se en la utilización del cartón como principal protagonista; tampoco se va a

poder realizar.

Gracias a estos talleres y charlas se pretendía que los alumnos pu-

dieran incorporar el cartón en proyectos reales y que posteriormente se

mostrasen dichos proyectos en distintas exposiciones que anualmente se

celebran en la ciudad de Palencia y con las que anualmente colabora la Es-

cuela de Arte y Superior Mariano Timón. Estas exposiciones son fundamen-

talmente: “Somos Joyería”, evento celebrado cada mes de mayo para mostrar

los trabajos de alumnos de Joyería de distintas escuelas de Arte y Diseño,

tanto a nivel nacional como internacional, exposiciones en las que han par-

ticipado en anteriores ediciones estudiantes de la ESAD de Matosinhos; “De-

senfocados” y “Exposición anual de los trabajos realizados durante el curso”,

eventos que tienen lugar durante el mes de junio. Desafortunadamente, es-

tos eventos tampoco se van a poder materializar debido a las restricciones

impuestas para detener la pandemia del Coronavirus COVID-19.

Los estudiantes son los protagonistas en este proceso de en-

señanza, ya que son el centro de propuestas e iniciativas y su participación

es esencial junto con la de los profesores implicados con nuestros distintos

perfiles y experiencias variadas, que tan enriquecedoras pueden resultar

para nuestros alumnos. La perspectiva empresarial en el diseño es funda-

mental para los estudiantes de estos Ciclos y, mediante estas actividades

de cooperación y apoyo con la participación de empresas y profesionales

del sector, se pretende reforzar, además de su formación, su capacidad

para emprender en el futuro.

Se había elegido el cartón como protagonista de estas distintas for-

maciones al ser uno de los materiales más sostenibles para consumo y di-

seño. A esto hay que añadirle su versatilidad, ligereza y resistencia y cabe

sobre todo destacar su carácter ecológico. Pese a todas estas bondades, las

posibilidades del cartón para el futuro en el diseño de muebles y ambientes

en interiorismo y arquitectura efímera están aún por descubrir. Los muebles

en cartón, una vez utilizados, pueden tener un nuevo uso gracias al reciclaje

o la reutilización, siempre que el cartón siga estando en buenas condiciones.

Los proyectos en cartón, además, redistribuyen y transforman el espacio en

un abrir y cerrar de ojos. Para el caso de los muebles cabe destacar su facili-

dad de transporte, de montaje, de almacenaje e incluso, siempre que se haya

planificado un buen diseño, no se hace necesaria la utilización de pegamen-

tos, ya que mediante plegados ensamblaje o con la utilización de piezas au-

xiliares (diseñadas en 3D o convencionales como cuerdas, bridas, ganchos,

abrazaderas, etc.) se pueden elaborar estructuras modulares tridimensiona-

les muy interesantes.

Para una pequeña escuela como la nuestra, la Escuela de Arte y Su-

perior C.R.B.C. Mariano Timón de Palencia, es una oportunidad única que den

subvenciones a este tipo de iniciativas, no sólo por la oportunidad que supo-

ne para la mejora de la formación de los alumnos y de enriquecimiento de su

experiencia formativa, sino porque también para la propia escuela supone

un empujón en cuanto a la dotación de herramientas que podrán utilizarse a

partir de ahora y durante los próximos años por las siguientes promociones

de alumnos, ya que, gracias a la subvención aportada, se ha podido incorpo-

rar a su dotación una cortadora láser, de la marca NomadTech, que ya está a

178\

disposición de los alumnos y gracias a la cual se han empezado ya a realizar

algunas piezas para proyectos.

¿Por qué diseño sostenible con cartón?

Transmitir esta experiencia a otros entornos educativos en el marco de las

relaciones ERASMUS+ era una fabulosa oportunidad para dar a conocer

nuestra pequeña aportación, desde la Escuela de Arte, al eco-diseño y a la

sostenibilidad en interiorismo. A través del aprendizaje interdisciplinar en-

tre distintos módulos de distintos Ciclos Formativos y con las empresas, los

alumnos adquieren los conocimientos, la concienciación y, tal vez, un com-

promiso real para minimizar el impacto ambiental a la hora de diseñar.

Lamentablemente, todas estas actividades previstas y planifica-

das con tanta ilusión se han visto truncadas para este curso 2019-2020, y,

si bien finalmente no las podremos realizar durante este curso y los estu-

diantes no han podido disfrutar de las bondades programadas por el pro-

yecto Aula-Empresa, queremos resaltar los aspectos positivos. Uno de ellos

ha sido, por ejemplo, que las expectativas generadas han calado en nues-

tros alumnos y que en un futuro influirán en que sean capaces de dar lo me-

jor de sí mismos en la creación de sus muebles y proyectos de interiorismo.

Cabe también destacar la obtención de contactos tanto empresariales, como

personales, como de asociaciones, que facilitarán, en un futuro próximo, la

colaboración con la Escuela en iniciativas de similar temática que seguro lo-

graremos llevar a cabo. Otro factor que destacar es el ya citado aprovisio-

namiento de maquinaria especifica que se ha obtenido gracias al Programa

Operativo del FSE de Castilla y León que ha permitido, y permitirá en un futu-

ro, la incorporación de este tipo de infraestructuras, de muebles, etc., en los

proyectos desarrollados en el centro por los alumnos y que abre un abanico

nuevo de posibilidades para lo que será el diseño del futuro y que es también

el del presente más avanzado.

Así pues, esperemos que el espíritu de CARTONea siga presente en

los próximos cursos y podamos mostrar las propuestas sostenibles que van

construyendo nuestras próximas generaciones.

Bibliography

Moxon, Siân (2012). Sostenibilidad en Interiorismo. Barcelona. Editorial Blume.

Sánchez Campos, Roberto (2016). Arquitecturas efímeras con cartón: El caso de la village en carton de Guy Rottier. Trabajo de Fin de Grado.

Webgraphy

https://blog.bellostes.com/

https://efimerarq.blogspot.com/search/label/cartón

https://cartonlab.com

https://dimad.org/love-carton-2/

https://molodesign.com

https://nomadtech.es/es/

In a changing society, design fully assumes its mission of reconfiguring

discipline in our experiential context - material, spatial, communication,

interaction - harmonizing it in line with the new needs and demands of

contemporary times. Design, as a field of knowledge that studies objects and

the relationships they establish with human beings, plays a fundamental role

in the design of artifacts, equipment, and structures, intended to be used by

most people, regardless of age or condition.

This reflection analyzes the role of the design/designer in the face of

the complex challenges and possibilities that the phenomenon of generalized

aging of the population poses to us. The fall in the birth rate associated with

the rise in average life expectancy is at the root of this sharp trend.

The last decades of the last century saw an uninterrupted increase in

the number of elderly people that transformed the most developed societies

into aging societies. The national demographic scenario further accentuates

this aging, since the demographic projections of Eurostat, for Portugal, in 2050,

indicate that three out of ten residents will be 65 or older. (Cabral and Ferreira,

2014) This finding expressed in the demography of Portuguese society

corroborates that the aging of the population is a phenomenon that tends to

persist and with which societies will have to deal in the future.

Demographic aging causes a new social and economic (un)balance,

which affects not only the elderly but also the entire population. An aging

society is a challenge to improve the understanding of aging as a phenomenon

that concerns all generations, and all dimensions of social life, reaffirming

how design can contribute to the transformation of the environment, in them

to make it more appropriate to the social changes resulting from the aging of

society and to promote active aging, which results in the full integration of the

elderly with the other elements of the community, to mitigate “gerontophobia”

and their segregation in/by society.

The social responsibility of designer1 2 is based, according to Gui

Bonsiepe (1965), on the effort that should be made by everyone and in

\Happy Days.Games, Tangible Interfaces for the Senior Population

Margarida [email protected]ão [email protected] — College of Arts and Designof MatosinhosPortugal

keymordsdesignsocial designinclusive designgames for seniorsthemessocial designinnovative solutions and practicesfor specific groupsinclusive design

en 181\

particular by the designers in the construction of an evident improvement of

the human environment. According to Papanek (1984), the design should act

as a transdisciplinary tool, which must be innovative, creative, and sensitive to

the real needs of society.3 The author argues that the design activity of design

should be oriented towards concrete human needs and, reaffirms the social

responsibility of the designer not only in the creation process but the impact

that your solutions have on society and the environment. Victor Margolin

(2014) continues this idea and argues that the designer has the task of shaping

material and immaterial products that can solve human problems on a large

scale and contribute to social well-being. According to the author, the design

activity should benefit the largest number of people possible using socially

responsible practices, although, and according to Walter Gropius, building a

better world is a collective work, and its development does not depend only

on an individual, but in the interests of society.

Studies on aging emphasize physical exercise, as a way of preventing

diseases and maintaining a healthy life. Despite the effectiveness of the results,

namely, in terms of muscle strengthening, balance and postural structure, the

benefits are essential of a physical nature (feeling of well-being), which do not

privilege reasoning and social interaction.

The aging process (senescence), includes physical and mental

declines, which interfere with the sensory system (vision, touch, smell, taste,

and hearing), the motor system (strength, grip, dexterity), and the central

nervous system (memorization, reasoning, ability to concentrate) and

accentuates a tendency to decrease social relations, due, among other factors,

to the cessation of work activities and the gradual loss of socialization groups.

Aging thus presents itself as one of the crucial problems of the 21st century,

since as age increases, isolation, marginalization, and loneliness appear as

new social constraints. Despite the biological and genetic factors defining

the individual aging process, socio-physical factors have a great influence

on the process and, therefore, the definition of multiple strategies should be

encouraged so that active aging can be extended to the entire community.

This awareness is based on and is based on the conviction that an

inclusive approach centered on the design of specific play materials that

help to prevent and delay some of the negative symptoms resulting from

senescence can increase the quality of life of large segments of the elderly

population.

Playing games is an activity that contributes to the prevention of

the harmful effects of aging. However, the game should not be understood

only as entertainment, since it stimulates cognitive and sensory activity, by

requiring logical reasoning, memory, and decision making. Likewise, that

physical, cognitive, and emotional activities are fundamental in childhood and

later growth, their maintenance at advanced ages is crucial to stimulate brain

activity and contribute to the preservation of memory and maintenance of the

quality of life. In addition to brain benefits, some games need to be played by

more than one person, stimulating social interaction and contributing to the

socialization and maintenance of emotional and affective health.

The idea of playing/playing per se is not in line with old age, there is a

stigma around gambling and fun in old age that inhibits the transfer of these

concepts to adulthood and old age, since playing and having fun are concepts

that have always been associated with the idea of childhood and adolescence.

The benefits resulting from activities associated with games and playfulness

are largely documented and identified and are therefore seen as one of the

strategies for promoting active aging.

The survey and analysis of the games used in homes and daycare

centers, all o ws us to verify that most of them show infantile or juvenile

1 The designer directs

his efforts towards the

immediate improvement

of the human environment.

(Bonsiepe, 1965)

2 All that we do, almost all

the time, designs, for design

is basic to all human activity.

(Papanek, 1984)

3 Design can and must

become a way in which

young people can

participate in changing

society.

(Papanek, 1984)

183\182\

characteristics that are not consistent with the age and status of the senior

person, attributes that inhibit their use by adults or the elderly, and above all

emphasize the stigma surrounding gambling and fun in old age.

The game is an original concept of cultural mediation, which allows

the development of essential activities in the structuring of the individual’s

socialization process. The game constitutes a learning field where “mental

structures and the flexibility of the body are built” (Neto, 1997) and assumes

itself as one of the most important forms of human behavior, even in

adulthood. Comprehensively, the games stimulate actions in the sensory-

motor, symbolic and constructive domains, and the functional actions,

promote and stimulate physical activity and mobility; imaginative or symbolic

actions exercise memory and knowledge; constructive actions promote the

accomplishment and accomplishment of tasks.

Cognitive stimulation games, namely, those that require concentration,

memory, identifying differences, going through labyrinths, counting, finding

objects in figures, making drawings, etc., promote abstract reasoning, mental

agility, and vocabulary; games of constructive stimulation, namely, those

that require the execution of grasping, precision, balance, and organization of

volumes in three-dimensional space, etc., promote strategic reasoning and

manual dexterity; and physical stimulation games, namely, those that require

actions such as dancing, moving, balancing, clapping, picking up objects, etc.,

promote motor coordination and physical agility.

Institutional social support equipment for elderly citizens guarantees

the satisfaction of their most elementary needs and constitutes a social

response, developed in the form of open equipment, aimed at providing a

diverse set of services (meals, personal hygiene, assistance medication,

and medical/nutritional support, support in traveling abroad, collaboration

in the acquisition of goods and services, clothing treatment, occupation/

entertainment activities / (in) training and health education, among others)

that depend on physical and institutions that provide them.

The activities carried out on this equipment mainly focus on health

therapy, occupation of leisure time, and assisted physical exercise. However,

these skills can be expanded through a national strategy of integration and

inclusiveness, centered on the use of the game as a training tool for the older

generations and on delaying the inevitable processes of loss and disintegration

of psycho-motor capacities.

The games are presented as the appropriate vehicles to disseminate

this strategy of prolonging the activity and maintaining the physical and

cognitive integrity of the senior population. The games emerge as prophylactic

equipment that must be designed by designers with the collaboration of aging

experts who put into practice processes that include users in the project’s

development phases.4

The study of games for the elderly presupposes and requires

multidisciplinary theoretical knowledge related to aging, in particular skills

related to medicine, gerontology, psychology, and design. Medicine in the

understanding of biomechanical elements and senescence; gerontology

thorough knowledge of factors associated with aging that limit the

autonomy of the elderly; psychology, not only in aspects related to human

interactions but in understanding the mechanisms of association of the

individual’s relations with objects and with the material world; and design

concerning the form and use of objects, legibility, and reading. The design

aspects that directly interfere in the project and the analysis of the object

are essential of visual perception, related to the form and the structure

of the pictorial elements in the pieces and parts of the game; with color,

considering that this factor is an intrinsic attribute to material artifacts;

4 “Co-design with

tools for creativity and

communication with people

who will benefit from the

design process”

Liz Sanders

Images 1 to 5

Games and playful

materials for seniors

carried out in an academic

context, under the guidance

of Prof Margarida Azevedo

and João Lemos in a

partnership between ESAD,

CIVAS and CMMatosinhos

185\184\

and with ergonomics, a decisive aspect in the structuring of the object-user

relationship.

Games and recreational activities carried out in homes and day

centers should be developed to explore specific concepts, events, and themes

according to the sensitivity and expectations of each user that allow reflection;

remember; express; communicate, and take into account the vicissitudes

and maintenance of performance at the level of motor, visual, auditory and

cognitive acuity.

These activities duly adapted to the limitations of each person,

providing moments of joy and relaxation where the capacities and skills of

each elderly person are taken into account, are positive ways of promoting the

well-being of the elderly, which contribute to minimize or delay the associated

effects of aging.

In addition to providing varied stimuli - physical, mental, social, and

psychological - games are free activities that do not require instructors and

specific infrastructures for their realization and can be played at any time.

constituting an active leisure activity, in which aging can be “postponed”.

Conclusion

The development of new specific games for a senior distribution

designed by designers, outlined with a collaboration of extended professional

teams with complementary skills and competencies that integrate users in

their design, is crucial for the stigma referenced with the notion that games are

used exclusively in childhood and adolescence to be overcome. Involving end-

users in project development, taking into account what is relevant, allows for

faster and more effective results. Listening, seeing, analyzing, and then taking

are approaches that must be integrated into this development of the project

since, what the elderly say, sometimes is not what they think, feel, or do.

Most games have a formal point of view, and chromatic characteristics

of children or young people, not very consistent with the age and status of the

studied age groups, inhibiting their use.

The present study allows us to understand that verbal (style,

dimension, and contrast) and pictorial (images and chromatism) elements,

usable playful materials, as well as their perception by recipients (contrasts)

are inadequate. Although there are already several suitable games indicated

and used by the vast majority of people, this reflection aims to point out new

hypotheses for project development and new approaches in the game design

process that specifically target these age groups.

Design, as a fundamental discipline in the study of the physical and

perceptual aspects of objects, can contribute to the development of games

suitable for the elderly, considering the syntactic, semantic, and pragmatic

aspects. A design practice projects a new social perspective and generates

new knowledge and goals that trigger the development of new playful

artifacts with transversal benefits for society.

Bibliography

Bernard, P. (1991). El rol social del diseñador gráfico. https://hiatusbookblog.wordpress.com/2013/07/17/pierre-bernard-esp/

Bonsiepe, G. (1965) ‘Education for visual design.’ Looking Closer 3: Classic writings on graphic design. pp. 161-166. New York ( 1999), Allworth Press.

Bonsiepe, G. (1999). Del objeto a la interfase. Mutaciones del Diseño. Buenos Aires: Ed. Infinito.

Bürdek, B. (2010). Design: História, teoria e prática do design de produtos. (Colonia, 2005), São Paulo: Edgard Blücher.

Cabral, M. (coor.) (2014). Processos de envelhecimento em Portugal – usos do tempo, redes sociais e condições de vida. Lisboa: FFMS Fundação Francisco Manuel dos Santos.

Ferreira, O. G. L. et al. (2010) ‘O envelhecimento ativo sob o olhar de idosos funcionalmente independentes‘. Revista da Escola de Enfermagem da USP, São Paulo, v. 44, n. 4.

Hollwich, M., Mau. B. (2016). New aging. Live smarter now to live better forever. London. Penguin Books.

Lupton, E. (ed.) (2012). Intuición, acción, creación. Graphic Design Thinking. Barcelona: Ed.GG Diseño.

Maeda, J. (2001). Las leyes de la simplicidad. Barcelona: Gedisa.

Manzini, E. (2008). Design para a inovação social e sustentabilidade. Comunidades criativas, organizações colaborativas e novas redes projetuais. Brasil: Editora E-Papers.

Margolin, V. (2014). Design e Risco de Mudança. Coleção Design, Ed.Bertrand.

Margolin. V. (2013). Construyendo un mundo mejor. https://hiatusbookblog.wordpress.com/2013/07/31/victor-margolin-spa/

Noble, I., Bestley, R. (2011). Visual Research. An introduction to research metodologies in graphic design. London, UK: 2ed AVA Publishing Ltd.

Norman, D. (2013). The design of everyday things. Emotional Design. New York: Basic Books.

Papanek, V. (1984). Design for the Real World: Human Ecology and Social Change, Thames and Hudson.

Tomasini, S. L. V. (2005). ‘Envelhecimento e planejamento do ambiente construído: em busca de um enfoque interdisciplinar‘, São Paulo. Revista Brasileira de Ciências do Envelhecimento Humano.

Who.(2020). Ageing and health. Geneva: WHO. https://www.who.int/news-room/fact-sheets/detail/ageing-and-health./2020/06/03/World Health Organisation.

Numa sociedade em transformação, o design assume em pleno a sua mis-

são de disciplina reconfiguradora do nosso contexto vivencial – material,

espacial, de comunicação, de interacção – harmonizando-o em consonân-

cia com as novas necessidades e exigências da contemporaneidade. O de-

sign, como campo do conhecimento que estuda os objetos e as relações

que estes estabelecem com o ser humano, cumpre um papel fundamental

na concepção de artefatos, equipamentos e estruturas, destinados a se-

rem utilizados pela generalidade das pessoas, independentemente da ida-

de ou condição.

Esta reflexão analisa o papel do design/designer face aos comple-

xos desafios e possibilidades que nos coloca o fenómeno do envelhecimento

generalizado da população. A queda da taxa de natalidade associada à su-

bida da esperança média de vida está na origem desta tendência acentuada.

As últimas décadas do século passado registaram um aumento inin-

terrupto do número de pessoas idosas que transformou as sociedades mais

desenvolvidas em sociedades envelhecidas. O cenário demográfico nacional

acentua ainda mais esse envelhecimento, uma vez que as projeções demo-

gráficas do Eurostat, para Portugal, em 2050, indicam que três em cada dez

residentes terão 65 ou mais anos. (Cabral e Ferreira, 2014) Esta constatação

expressa na demografia da sociedade portuguesa, corrobora que o envelhe-

cimento da população é um fenómeno que tende a persistir e com o qual as

sociedades vão ter de lidar no futuro.

O envelhecimento demográfico provoca um novo (des)equilíbrio so-

cial e económico, que afecta não só as pessoas idosas, mas também toda a

população. Uma sociedade envelhecida constitui, um desafio para melhorar

a compreensão do envelhecimento como um fenómeno que diz respeito a

todas as gerações, e a todas as dimensões da vida social, reafirmando-se o

modo como o design pode contribuir para a transformação do meio, no sen-

tido de o tornar mais adequado às alterações sociais decorrentes do enve-

lhecimento da sociedade e promover um envelhecimento ativo, que resulte,

\Dias Felizes. Jogos, Interfaces Tangíveis para a População Sénior

Margarida [email protected]ão [email protected] - Escola Superior de Artee Design de MatosinhosPortugal


pt 187/

na integração plena de idosos com os demais elementos da comunidade, de

modo, a atenuar a “gerontofobia” e a segregação destes na/pela sociedade.

A responsabilidade social do designer 1 2 baseia-se segundo Gui

Bonsiepe (1965) no esforço que deve ser realizado por todos e em particular

pelos designers na construção de uma melhoria evidente do ambiente hu-

mano. Segundo Papanek (1984), o design deve atuar como uma ferramenta

transdisciplinar, que deve ser inovadora, criativa e sensível às reais neces-

sidades da sociedade. 3 O autor defende que a atividade projetual de design

deve ser orientada para as necessidades humanas concretas e, reafirma a

responsabilidade social do designer não só no processo de criação, mas no

impacto que as suas soluções têm na sociedade e no meio ambiente. Victor

Margolin (2014) dá continuidade a essa ideia e defende que o designer tem

por incumbência dar forma a produtos materiais e imateriais que possam re-

solver os problemas humanos em larga escala e contribuir para o bem-estar

social. Segundo o autor, a atividade de design deve beneficiar o maior número

de pessoas possível recorrendo a práticas socialmente responsáveis, ainda

que, e de acordo, com Walter Gropius, construir um mundo melhor seja um

trabalho coletivo, e o seu desenvolvimento não dependa apenas do individuo,

mas dos interesses da sociedade.

Os estudos sobre o envelhecimento enfatizam o exercício físico,

como uma forma de prevenção de doenças e de manutenção de uma vida

saudável. Apesar da efetividade dos resultados, nomeadamente, ao nível do

fortalecimento muscular, do equilíbrio e da estrutura postural, os benefícios

são essencialmente de ordem física (sensação de bem estar), que não privi-

legiam o raciocínio e a interação social.

O processo de envelhecimento (senescência), engloba declínios fí-

sicos e mentais, que interferem com o sistema sensorial (visão, tato, ol-

fato, gustação e audição), o sistema motor (força, preensão, destreza) e o

sistema nervoso central (memorização, raciocínio, capacidade de concen-

tração) e acentua uma tendência na diminuição das relações sociais, devi-

do entre outros fatores, à cessação das atividades laborais e perda gradual

dos grupos de socialização. O envelhecimento apresenta-se assim como,

um dos problemas cruciais do século XXI, uma vez que à medida que a ida-

de aumenta, o isolamento, a marginalização e a solidão surgem como novos

constrangimentos sociais. Apesar dos fatores biológicos e genéticos defini-

rem o processo de envelhecimento individual, os fatores sócio-físicos têm

grande influência no processo, devendo-se por isso, encorajar a definição

de múltiplas estratégias para que o envelhecimento ativo seja extensível a

toda a comunidade.

Esta tomada de consciência alicerça-se e fundamenta-se na convic-

ção de que uma abordagem inclusiva centrada no design de materiais lúdicos

específicos que contribuam para prevenir e retardar alguns dos sintomas ne-

gativos decorrentes da senescência pode incrementar a qualidade de vida de

amplos segmentos da população idosa.

A prática de jogos é uma atividade que contribui para a prevenção

dos efeitos nocivos do envelhecimento. No entanto, o jogo não deve ser en-

tendido apenas como entretenimento, uma vez que estimula a atividade cog-

nitiva e sensorial, ao requerer o raciocínio lógico, a memória e a tomada de

decisões. Do mesmo modo, que as atividades físicas, cognitivas e emocionais

são fundamentais na infância e no crescimento posterior, a sua manutenção

em idades avançadas revela-se crucial para estimular a atividade cerebral

e contribuir para a preservação da memória e manutenção da qualidade de

vida. Para além dos benefícios cerebrais, alguns jogos necessitam de ser jo-

gados por mais de uma pessoa, estimulando a inter ação social e contribuin-

do para a socialização e manutenção da saúde emocional e afetiva.

1 O designer direciona

os seus esforços para

a melhoria imediata

do ambiente humano.

(Bonsiepe, 1965)

2 All that we do, almost

all the time, is design, for

design is basic to all human

activity. (Papanek, 1984)

3 Design can and must

become a way in which

young people can

participate in changing

society (Papanek, 1984).

189\188\

A ideia de jogar/brincar per si, não se coaduna com as idades avança-

das, existe um estigma em torno do jogo e da diversão na terceira idade que

inibe a transferência destes conceitos para a idade adulta e idosa, uma vez

que jogar e divertir são conceitos que estão desde sempre associados à ideia

da infância e da adolescência. Os benefícios resultantes das atividades asso-

ciadas aos jogos e à ludicidade estão largamente documentados e identifica-

dos sendo por isso encarados como uma das estratégias para a promoção do

envelhecimento ativo.

O levantamento e análise dos jogos utilizados em lares e centros de

dia, permite aferir que a maioria evidencia caraterísticas infantis ou juvenis

não condizentes com a idade e o estatuto da pessoa sénior, atributos que ini-

bem a sua utilização por adultos ou idosos, e sobretudo acentuam o estigma

em torno do jogo e da diversão na terceira idade.

O jogo é um conceito original de mediação cultural, que permite o de-

senvolvimento de atividades essenciais na estruturação do processo de so-

cialização do indivíduo. O jogo, constitui um campo de aprendizagem onde se

“edificam as estruturas mentais e a flexibilidade do corpo” (Neto, 1997) e assu-

me-se como uma das formas mais importantes do comportamento humano,

mesmo na idade adulta. De modo abrangente, os jogos estimulam ações nos

domínios sensório-motor, simbólico e construtivo, sendo que as ações fun-

cionais, promovem e estimulam a actividade e a mobilidade física; as ações

imaginativas ou simbólicas exercitam a memória e o (re)conhecimento; e as

ações construtivas promovem a realização e a concretização de tarefas.

Os jogos de estimulação cognitiva, nomeadamente, os que requerem

concentração, memória, identificar diferenças, percorrer labirintos, contar,

encontrar objetos em figuras, elaborar desenhos, etc., promovem o raciocínio

abstracto, a agilidade mental e o vocabulário; os jogos de estimulação cons-

trutiva, nomeadamente, os que requerem execução de tarefas de preensão,

precisão, equilíbrio, e organização de volumes no espaço tridimensional, etc.,

promovem o raciocínio estratégico e a destreza manual; e os jogos de estimu-

lação física, nomeadamente, os que requerem ações como dançar, deslocar,

equilibrar-se, bater palmas, apanhar objetos, etc., promovem a coordenação

motora e a agilidade física.

Os equipamentos institucionais de apoio social ao cidadão idoso, ga-

rantem a satisfação das suas necessidades mais elementares, e constituem

uma resposta social, desenvolvida sob a forma de equipamento aberto, vo-

cacionados para a prestação de um conjunto diversificado de serviços (re-

feições, higiene pessoal, assistência medicamentosa e acompanhamento

médico/nutricional, apoio nas deslocações ao exterior, colaboração na aqui-

sição de bens e serviços, tratamento de roupa, actividades de ocupação/ani-

mação/(in)formação e educação para a saúde, entre outros) que dependem

dos recursos físicos e humanos das Instituições que as proporcionam.

As atividades realizadas nestes equipamentos incidem sobretudo

na vertente da terapia pela saúde, na ocupação dos tempos livres e na prá-

tica assistida de exercícios fisicos. No entanto, estas valências podem ser

ampliadas por via de uma estratégia nacional de integração e inclusivida-

de, centrada no uso do jogo como instrumento de capacitação das gerações

mais idosas e em retardar os inevitáveis processos de perda e desagregação

das capacidades psico-motoras.

Os jogos apresentam-se como os veículos adequados para disse-

minar esta estratégia de prolongamento da atividade e manutenção da in-

tegridade física e cognitiva da população sénior. Os jogos surgem como

equipamentos profiláticos que devem ser desenhados por designers com a

colaboração de peritos em envelhecimento que ponham em prática proces-

sos que incluam os utilizadores nas fases de desenvolvimento do projeto. 4

4 “El co-diseno pone

las herramientas para

la creatividad y la

comunicacion en manos

de las personas que se

beneficiarán del proceso

de diseño”

Liz Sanders

Imagens 1 a 5

Jogos e materiais lúdicos

para seniores realizados

em contexto académico,

sob orientação dos profs

Margarida Azevedo e

João Lemos numa parceria

entre a ESAD o CIVAS

e a CMMatosinhos

191\190\

O estudo dos jogos para idosos pressupõe e requer conhecimen-

tos teóricos multidisciplinares ligados ao envelhecimento, em particular de

competências relacionadas com a medicina, a gerontologia, a psicologia e o

design. A medicina no entendimento dos elementos biomecânicos e da se-

nescência; a gerontologia pelo conhecimento dos fatores asssociados ao en-

velhecimento que limitam a autonomia das pessoas idosas; a psicologia, não

só nos aspetos relacionados com as interações humanas, mas na compreen-

são dos mecanismos de associação das relações do individuo com os objetos

e com o mundo material; e de design em relação à forma e ao uso dos objetos,

à legibilidade e à leitura. Os aspectos de design que interferem diretamente

no projeto e na análise do objeto são essencialmente de percepção visual, re-

lacionados com a forma e a estruturação dos elementos pictóricos nas peças

e partes do jogo; com a cor, considerando que este fator é um atributo intrín-

seco aos artefatos materiais; e com a ergonomia, aspeto determinante na es-

truturação da relação objeto-utilizador.

Os jogos e as atividades recreativas realizadas em lares e centros de

dia devem ser desenvolvidos de modo a explorar conceitos, acontecimentos

e temas específicos à medida da sensibilidade e expectativas de cada utiliza-

dor que permitam refletir; recordar; expressar; comunicar, e que tenham em

atenção as vicissitudes e a manutenção do desempenho ao nivel da acuidade

motora, visual, auditiva e cognitiva.

Estas atividaddes devidamente adequadas às limitações de cada

pessoa que proporcionem momentos de alegria e descontração onde as ca-

pacidades e competências de cada idoso são tidas em conta, são formas po-

sitivas de promoção do bem estar das pessoas idosas, que contribuem para

minimizar ou retardar os efeitos associados ao envelhecimento.

Para além propiciarem estímulos variados - físicos, mentais, sociais

e psicológicos - os jogos são atividades livres que dispensam instrutores e

infra-estruturas especificas para a sua realização, e podem ser praticados a

qualquer hora. constituindo uma atividade de lazer ativo, em que o envelheci-

mento pode ser “adiado”.

Conclusão

O desenvolvimento de novos jogos especificos para a população sénior de-

senhados por designers, delineados com a colaboração de equipas profis-

sionais alargadas com valências e competências complementares e que

integram os utilizadores na sua concepção revela-se crucial para que o es-

tigma referenciado com a noção de que os jogos são exclusivamente utili-

zados na infância e na adolescência seja superado. Envolver os utilizadores

finais no desenvolvimento projetual, tendo em conta o que é relevante, per-

mite obter resultados mais céleres e eficazes. Ouvir, ver, analisar, e depois

desenhar são abordagens que devem ser integradas neste desenvolvimen-

to projetual uma vez que, o que os idosos dizem, por vezes não é o que pen-

sam, sentem ou fazem.

A maioria dos jogos analisados apresenta do ponto de vista formal,

gráfico e cromático características infantis ou juvenis, pouco condizentes

com a idade e o estatuto dos grupos etários estudados, inibindo a sua uti-

lização. O presente estudo permite compreender que os elementos verbais

(estilo, dimensão e contraste) e pictóricos (imagens e cromatismos), uti-

lizados nestes materiais lúdicos, bem como, a sua percepção pelos desti-

natários (contrastes) revela-se inadequada. Ainda que já existam um sem

número de jogos devidamente identificados e utilizados pela grande maio-

ria das pessoas, esta reflexão pretende apontar novas hipóteses de desen-

volvimento projetual e novas abordagens no processo de design de jogos

que visem especificamente estes grupos etários.

O design, como disciplina fundamental no estudo dos aspectos fí-

sicos e perceptivos dos objetos pode contribuir para o desenvolvimento de

jogos adequados para idosos, considerando os aspectos sintáticos, semânti-

cos e pragmáticos. A prática do design projeta uma nova perspectiva social e

gera novos conhecimentos e estratégias que despoletam o desenvolvimen-

to de novos artefatos lúdicos com benefícios transversais para a sociedade.

BIBLIOGRAFIA

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Bonsiepe, G. (1965) ‘Education for visual design.’ Looking Closer 3: Classic writings on graphic design. pp. 161-166. New York ( 1999), Allworth Press.

Bonsiepe, G. (1999). Del objeto a la interfase. Mutaciones del Diseño. Buenos Aires: Ed. Infinito.

Bürdek, B. (2010). Design: História, teoria e prática do design de produtos. (Colonia, 2005), São Paulo: Edgard Blücher.

Cabral, M. (coor.) (2014). Processos de envelhecimento em Portugal – usos do tempo, redes sociais e condições de vida. Lisboa: FFMS Fundação Francisco Manuel dos Santos.

Ferreira, O. G. L. et al. (2010) ‘O envelhecimento ativo sob o olhar de idosos funcionalmente independentes‘. Revista da Escola de Enfermagem da USP, São Paulo, v. 44, n. 4.

Hollwich, M., Mau. B. (2016). New aging. Live smarter now to live better forever. London. Penguin Books.

Lupton, E. (ed.) (2012). Intuición, acción, creación. Graphic Design Thinking. Barcelona: Ed.GG Diseño.

Maeda, J. (2001). Las leyes de la simplicidad. Barcelona: Gedisa.

Manzini, E. (2008). Design para a inovação social e sustentabilidade.Comunidades criativas, organizações colaborativas e novas redes projetuais. Brasil: Editora E-Papers.

Margolin, V. (2014). Design e Risco de Mudança. Coleção Design, Ed.Bertrand.

Margolin. V. (2013). Construyendo un mundo mejor. https://hiatusbookblog.wordpress.com/2013/07/31/victor-margolin-spa/

Neto, C. (1997). O Jogo e o Desenvolvimento da Criança. Lisboa: Edições FMH.

Noble, I., Bestley, R. (2008). Visual Research. An introduction to research metodologies in graphic design London, UK: AVA Publishing Ltd.

Norman, D. (2013). The design of everyday things. Emotional Design. New York: Basic Books.

Papanek, V. (1984). Design for the Real World: Human Ecology and Social Change, Thames and Hudson.

Tomasini, S. L. V. (2005). ‘Envelhecimento e planejamento do ambiente construído: em busca de um enfoque interdisciplinar‘, São Paulo. Revista Brasileira de Ciências do Envelhecimento Humano.

Who.(2020). Ageing and health. Geneva: WHO. https://www.who.int/news-room/fact-sheets/detail/ageing-and-health


ABSTRACTS

195\194\ It is within a context of global pandemic, ideological antagonisms and facing

the imminent departure of one of its member states for the first time, that

the European Union celebrates, in 2020, the 33rd anniversary of one of its

most successful creations: the ERASMUS Programme.

A Programme that continues to invest in the present looking out

for to the future. Changing lives and broadening the horizons of millions

of people by fostering their skills, autonomy, tolerance and worldview. A

Programme that will keep influencing present and future generations of

individuals and organizations giving them a larger sensitivity and sense of

European belonging, as well as a more balanced global conscience.

The invitation from Escola Superior de Artes e Design to the

Portuguese ERASMUS+ National Agency for participating in this publication

was a challenge as well. It allowed us to look back and analyse the Arts

sector’s trajectory and contributions during the ERASMUS Programme’s

existence in a detailed way. In Portugal, that path has always been marked in

a clear and remarkable way.

\Erasmus in Portugal, Mobility in Arts



ESAD’s committed and active participation in mobility programmes

(Socrates/Erasmus/Erasmus+) is almost as old as the college itself. In fact,

it was founded in 1989 and a few years later, in 1992, it received the first

incoming students. This text aims to briefly reflect on Erasmus mobility,

based on the testimonials of the outgoing students, lecturers and staff of

the College of Art and Design and of the incoming students, who arrive from

different European countries.

\The ChallengingErasmus Experienceat ESAD.A Moment of Reflection

Antonino [email protected] [email protected] Rui [email protected] — College of Arts and Designof MatosinhosPortugal


197\196\ Nobody knows where knowledge was born. Not even knowledge knows

much about it when mentioned. We look for clues, we find traces, we gather

evidence: fossils, utensils, clothing, toys, books, paintings, sculptures, texts,

which were hidden, scattered, stored, filed by civilizations, cultures, times,

places, events. We rest our heads on what we have, we wake up alarmed by

what we lack. Backing in time and traversing space, we enter a room with no

light. Let us leave it in the black box and continue outside the box.

\All in the Family.A Familiar Mnemonic of Knowledge at Coffee Break, Before or After Class

Emílio [email protected] — College of Arts and Designof MatosinhosPortugal


This article focuses partly on the present day, but most of all on the future,

and how sustainable design has the capacity to influence our society and

environment. The world is in a state of change—again and again—and so

is design. Population growth, the movement to cities in what are seen as

richer and safer countries, inequalities, climate change, the lack of resources

(e.g. caused by linear economy and mass consumption): these factors are

all creating new challenges for design. Studies predict a doubling of the

population in 2050. By then, 70% of people in the world people will be living

in cities, and the number of megacities will increase (cf. Sachs 2018, p. 31). “(…)

Inequality in cities is on the rise; the problem of inequality is a fundamentally

urban one; and, in the long run, urban inequality threatens economic growth.

Although its precise causes and dynamics vary from city to city, inequality is

a major and growing problem in virtually all cities and metropolitan areas.”

(Florida 2017, pp. 81) This article is written from the perspective of a life

in industrialized countries. I am aware that the majority of people live in

underdeveloped and developing countries, dominated by poverty and wars.

Nevertheless, the content here focuses on wealthy countries with a high

standard of living, the developed world.

\Design Strategiesthat Would Not Hurtand Make Life Better



199\198\ Design is becoming process-based, dynamic and participative. These design

processes enable constantly changing perceptions and promote awareness.

The changes in the professional field present a greater flexibility

in the definition of design. But it is also a freedom that comes with a great

responsibility, one that first needs to be negotiated.

Designers will increasingly become design strategists. They won’t

just develop projects that use all potential media, but will also need to

be able to reinvent a medium to do this, or even develop projects without

content, formal or media specifications.

They can take on more social responsibility and become inventors

who rethink what is possible.

\The Role of Educationfor Good Design



“If all the people living on this planet would seek the product-based idea of wellbeing it would end up with a huge combination of ecological catastrophe because of all the people that are able to have the productsand at the same time a social one caused by those who cannot havethem.”

Ezio Manzini

The industrial design field as we know it was born out of the Industrial

Revolution in the middle of the eighteenth century. Industrialization and the

boom of mechanized manufacturing created the need for a profession that

could shape manufactured objects quickly and cheaply. Back then, it was an

amazing improvement to the way we created and produced things.

Manufacturing and production became fast and easy, so the world

quickly became comfortable with the idea of fast expansion. Industrialization

made products which had been accessible only to the privileged few accessible

to everyone. Products that had been perceived as luxury items, and seen only

in the homes of the rich, were suddenly affordable to society at large. Access

to those previously unaffordable products was suddenly democratized.

Designers took their role seriously by making all efforts to design

things in the cheapest way possible.

\The Day We All Become Designers: the Symphonyof Ethics and Aestheticsin Design

Eliška Skarolková[email protected] Republic


201\200\ This text accepts the contemporary tendency to metaphorize. Invoking P.

Ricoeur (1975: 79), it exposes an idea related to design based on another that

becomes “plus frappante”, that of “cycle”.

It can be said that the application of the cycle concept, especially

in its biological version of the life cycle, has already been carried out for

production, organizations and technologies (Freuz, 1987; Pérez and López,

2003). Therefore, its application to Design is merely a simple exercise.

\Design is Dead.Long Live Design.Hitchhikingby Peter Greenawayand Others

José Luis Simã[email protected] — College of Arts and Designof MatosinhosPortugal

keymordsdesignescolaaulacriatividadetrabalhothemesethics and designthe role of education for good design (ir)responsibility of design

The designer has a fundamental role to build a society and overcome

challenges proposed by the complex world in which we live. So the objective

of this article is to raise a brief history of the designer’s profession, which

takes us back to a time when the design was born through a consumer society

and without planning. Over time, the transition from designer to strategist

becomes necessary when we are faced with a world with complex problems

and waiting for innovative solutions to ensure that there is a future. Within

this context so that we can live in a sustainable world, the designer becomes

responsible for creating products, services, and strategies with the Circular

Economy innovatively and efficiently. So the purpose of the article is to create

critical thinking about how the past has brought us here so that from now on

we can rethink and plan our actions for a sustainable future.

\The Responsibilityof the Designerin an (un)Sustainable World



203\202\ The humanization of pediatric health services is a matter of increasing

importance and illustration can play a decisive role in that goal. The

commitment of creating a positive, playful and comfortable environment for

patients and caregivers has been gaining recognition through the hands of

illustrators and storytellers.

This paper reflects on the process of adapting an illustrated

children’s picture book in a specific hospital environment, its effectiveness

and how it can reach other audiences.

\The Humanizationof the Hospital Environment through Illustration.A collaborative Project between ESADand Pedro Hispano’s Hospital of Matosinhos



Technology today affects and transforms every aspect of life. Until recently,

the concept of internet of things has entered our lives, while it is a novelty

for people to interact with each other through devices. Internet of Things can

be called a technological development that allows objects to communicate

with each other and their environment. IoT has become the transformation

technology for many areas today. Internet of Things has a wide range of

applications from industrial automation, healthcare, building and home

automation to transportation and public services. It offers quite unusual

experiences in all areas. It helps people to lead a more comfortable and quality

life with its design details. On the other hand, the communication of objects

via IoT brings new design problems. What design solutions to find for these

problems will shape the future of the design.

In this study, the future of design is discussed in the context of social

responsibility and using iot technology. It is aimed to implement a social

responsibility project that can offer solutions and attracting attention, which

are important for social problems, by using IoT technology.

A fundamentally wrong known as “street animals problem” is a

common problem in our country which is basically the problem of animal

rights and animal welfare. In our country, solution-oriented projects have not

been implemented for years due to two different approaches that see animals

as a part of life and see animals as a threat. In this study, an iot application

designed with our students for the animals living on the street is examined as

an example.

\Rethinking Futureof Design Through Social Responsibility.An Example of IoT Application for Stray Animals

Oğul Göç[email protected] UniversityEngineering FacultyTurkeyPelin Öztürk Göç[email protected] Ankara Hacı Bayram Veli UniversityFine Arts FacultyTurkey


205\204\ It is the first time that a Classroom-Company project was selected to develop

at the Mariano Timón School of Art, within the Classroom-Company Castilla

y León program, to be developed by public educational centers, 2019/2020

academic year within the Action co-financed by the European Social Fund.

Castile and León ESF Operational Program 2014-2020.

The project is included within the group of eligible projects for

students to learn directly from companies. At the initiative of the interim

professor of Materials and Technology, a project has been proposed for

this course so that the students of the Higher Cycles of Furnishing and

Cabinetmaking collaborate closely with relevant Spanish companies that are

already making design with cardboard; CartonLab, Cardboard...

Besides, students will be able to carry out real projects thanks to the

conferences at the School of Art. For a small school like ours, the “Mariano

Timón” School of Art and Higher Education of Palencia, it is an opportunity for

Europe to subsidize this type of initiative, which has allowed us to incorporate

a laser cutter that is available to students.

Transmitting this experience to other educational environments

within the framework of Erasmus+ relationships is an opportunity to make our

small contribution to the world of ecodesign known since future generations

of designers will be more aware of the environment in which we live.

\Cardboard Design Learning under Covid-19 Pandemic

Alicia Cerdá [email protected] and Superior Schoolof Conservation and Restorationof Cultural Assets Mariano Timón PalenciaCastilla y LeónSpain


In a changing society, design fully assumes its mission of reconfiguring discipline

in our experiential context - material, spatial, communication, interaction -

harmonizing it in line with the new needs and demands of contemporary times.

Design, as a field of knowledge that studies objects and the relationships they

establish with human beings, plays a fundamental role in the design of artifacts,

equipment, and structures, intended to be used by most people, regardless of

age or condition.

The development of new specific games for a senior distribution

designed by designers, outlined with a collaboration of extended professional

teams with complementary skills and competencies that integrate users in

their design, is crucial for the stigma referenced with the notion that games are

used exclusively in childhood and adolescence to be overcome. Involving end-

users in project development, taking into account what is relevant, allows for

faster and more effective results. Listening, seeing, analyzing, and then taking

are approaches that must be integrated into this development of the project

since, what the elderly say, sometimes is not what they think, feel, or do.

Design, as a fundamental discipline in the study of the physical and

perceptual aspects of objects, can contribute to the development of games

suitable for the elderly, considering the syntactic, semantic, and pragmatic

aspects. A design practice projects a new social perspective and generates

new knowledge and goals that trigger the development of new playful

artifacts with transversal benefits for society.

\Happy Days.Games, Tangible Interfaces for the Senior Population

Margarida [email protected]ão [email protected] — College of Arts and Designof MatosinhosPortugal


207\206\ Comment enseigner les notions et valeurs du low tech aujourd’hui, puisque

ces valeurs questionnent fondamentalement les valeurs et processus de

création classiques. La pensée théorique de l’objet que l’on conçoit de manière

totale en pensant le moule, l’outil de production et les rendements qui rendent

la conception viable ne correspondent pas à une nouvelle manière de penser

le design. Comment enseigner à nos étudiants une conception qui intègre les

conditions respectueuses de notre environnement et qui remet en cause les

technologiques en place.

Le low tech questionne la technologie et aussi les objets puisque

nous pouvons poser comme postulat avec nos étudiants que certains objets

sont arrivés au bout de leur évolution. Et dans ce cas, quel est le rôle du

designer. Un étudiant ayant travaillé sur un aspirateur ébauche un projet

de balai qui est aussi performant que l’aspirateur. Partant d’une collection

d’objets présentés dans le musée Electropolis de Mulhouse, nos étudiants

ont pu choisir un objet référent qu’ils ont questionné et remis en cause.

Nous constatons qu’il est utile de déconstruire nos codes pour

reconstruire des objets aux fonctions toujours identiques mais qui seront

autonomes, non consommatrices d’énergies... Issues ‘expérience souvent

testées dans les pays en développement, le low tech va trouver sa place dans

nos sociétés capitalistes et confortables comme si elle répondait aux besoin

non plus d’usage mais de réemploi de nos propres productions antérieures.

Le rôle du designer est alors important car il doit concevoir un objet

désirable tout en étant low tech. Avec nos étudiants, nous avons évoqué

les notions de surconsommations et nous questionnons alors la notion de

standard et d’objets mondialisés. La valeur des objets est évoquée avec

les étudiants et nous avons élaboré une charte de conception en faisant

référence aux chartes existantes comme celles du Bauhaus, de Dieter Ramhs,

de Philippe Starck... Nous évoquons ensemble la possibilité de penser et de

concevoir avec des « ressourceries » et intégrons cette dimension du recyclage

et de considérer les matières jetées comme de nouvelles matières premières.

\Concevoir le Low Tech

Nathalia [email protected] École des Arts du RhinFrance

keymordslow techtechnologie convivialethemesethics and design(ir)responsibility of designthe role of education for good design

Urban environmental aesthetic is a complex issue that a city should be

evaluated beyond its physical characteristics. Since the urban environment

is the central part of human living that can be changed with central decisions

by the urban planning practice at the same time by personal and individual

decisions, so aesthetic control management within city planning practice is

important. At the same time collectively coordinating individual decisions for

controlling urban aesthetic is important too. In this paper aesthetic control

management problems within urban planning process in the case of Istanbul,

Turkey will be evaluated. For this evaluation the situations after the 2000s

are selected. Neo-liberal economic and market-friendly policies that become

more influential after these years, shows its effect in urban fabrics with

large-scale commercial projects, which are not compatible with the existing

urban silhouette. This paper reveals the problems in aesthetic control

management system in this area. At the first, twenty professionals in urban

design field will be interviewed. With these interviews the aesthetic problems

in planning practice will be introduced. Then the roots of these problems

inside the urban planning laws and regulations in the case of management

system will be evaluated. While this method just researched in physical

parts of design area and not consider subjective and symbolic aesthetic

parameters. For reaching comprehensive judgement in urban aesthetic area

it needs vast research in literature, urban laws and regulations at the same

time interview with professions and citizens. Finally with these evaluations

new recommendations in aesthetic control management will be developed.

\Aesthetic Control Management in Urban Planning Practice.The Case of Turkey, Istanbul

Rezafar [email protected] Arel UniversityFaculty of Civil Engineeringand ArchitectureIstanbulTurkey

keymordsaesthetic problemsaesthetic control managementurban planningthemesrethinking the architectural design

209\208\ Today’s fast consumption habits and the increase of mobile devices

have created the necessity of designing all kinds of visual design products

specifically for portable devices and smartphones. Besides, the presentation

of design stories supported by graphic elements and multimedia technologies

through digital media is highly increasing. In this research, interactive digital

publications designed by professionals in social, commercial or educational

themes, and also student projects that have practiced in the “Interactive

Publishing Design” course that I gave at Postgraduate level in Hacettepe

University will be evaluated in the context of content, design, and technology.

Today, human being is an open recipient with all sensory organs to messages

reflected from numerous stimuli. The speed, intensity, severity, number

and interaction power of the surrounding stimuli are of great importance

for the recipient to understand the message and reach the result. In this

sense, where and how the multimedia features such as high visualization,

sound, music, and motion are used, among the basic problems of visual

communication design. Thanks to technology, communication tools have

reached a dimension that will appeal to large masses from pictorial

expressions on the cave walls to signs and symbols, written texts to audio

and video mediums in time. In this sense, communication tools that have

been developed and diversified within the framework of human needs,

have been reshaped in parallel with the conditions and possibilities of the

geography that they are connected to.

The printed media; such as books, newspapers, magazines, which

continue to be the only medium for a long time in publishing activities, started

to be known as conventional media together with them getting involved

in radio and television into human life. Technological developments have

allowed the production and presentation of traditional media in computer

platforms and been referred to as “electronic media”, and over time, the

term “new media” has emerged with the inclusion of internet and interaction.

The increase in paper and printing costs, the necessity of updating the data

flow caused digital publishing to be preferred to printed publishing so that

the reader was free from being dependent on paper also. Previously, the

e-publishing sector which was realized with the electronic presentation

of the published products has turned into digital publications prepared

and presented completely in electronic platforms with features such as

customizability and interaction. In this sense, the adventure of e-publication

which started with e-mails has made a very rapid development in 40 years,

within newspapers, magazines, books, radio, tv, web pages, social media

networks, and mobile devices applications since 1980.

\Interactive Graphicsin Digital Publishing Design

Özden Pektas [email protected] UniversityFaculty of Fine ArtsTurkey

keymordsvisual communication designdigital publishinginteractivitymultimedia graphicsthemesdesign and arts for future now

211\210\ things are able to tell them. Therefore, ways of knowing and forms of (tacit)

knowledge are of great interest for designers. How is knowledge “distributed”

between objects and users? This will lead to discussing the possibilities for

and responsibilities of designers, who are able to design that process of

“Translatio” (Latour).

Observations, short videos and photos of everyday interactions will

help me explore certain aspects of the phenomenon under investigation

and relate the findings to the broader discourses in Design and Science,

Technology & Society Studies.

We as designers conceive of and create the technical world we are

surrounded by. When predicting, promoting and shaping socio-technical

change, an important question in both Design Research and Science,

Technology & Society Studies is how socio-technical configurations are

shaped and how, in turn, they shape us.

These two disciplines have a lot in common: both try to take into

account people and things at the same time instead of looking only at one

of the two. Bearing in mind that users and objects configure each other, it

is remarkable how much our creative process is guided by the language

and the metaphors we use, and in what various ways they stimulate design

processes.

However entagled the world of artifacts – the technical world –

and the social world may be, it is hard to put a finger on the invisible ways

in which objects guide our behaviour. Because most of the countless

interactions with physical objects that happen every day flawlessly dissolve

in our usual behaviour, so we are hardly aware of these interactions. Brushing

teeth, making a phone call, eating, washing our hands, driving a car, riding a

bycicle, using public transport, working on a computer, writing texts – the

only occasions when one of these interactions surfaces in our conscious

awareness is when the interaction is either unexpectedly joyful or when there

is an interruption in our intended flow of actions: a bottle seems impossible

to open, an automatic door does not slide open as expected, I cannot operate

the elevator because I am carrying groceries in both of my hands, buying a

ticket at the ticket machine is so complicated or takes so long that I miss

my bus. Most of the time the user knows what she is expected to do with

certain objects, she can read the Affordances in her surroundings. But how is

this kind of communication possible? How come I seem to understand what

things are trying to tell me?

How are Affordances designed into objects? Still, this concept

needs the responding human being to be able to read or perceive what

\The Transparency Problem. Tacit Dimensions of Design

Stefanie [email protected] JoanneumDesign & CommunicationAustria

keymordstacit knowledgemetaphors in designscience, technology & society studiesaffordancescommunicationthemesethics and design(ir)responsibility of designthe role of education for good design


TESTIMONIALS


editor

Antonino JorgeMarta Varzimorganization

GERI — Gabinete Erasmuse Relações Internacionaiseditorial content

Carla Correiacommunication

Mafalda MartinsRita Carvalhoproduction

Sofia Meira\

graphic design

Margarida Azevedo+João LemosDesigners Associadosprinting and finishing

Guide, Artes Gráficas, Lda\

publisher

Esad, College of Art and DesignEsad—Idea, Research in Design and Artpublishing date

October 2020print Run

100 CopiesISBN

978-989-8829-59-7legal deposit

475075/202020


authors

Alicia Cerdá TaracidoAntonino JorgeCarolina MottaEliška SkarolkováEmílio RemelheGustavo Alva-RosaHelena CordeiroJoão LemosJosé Luís SimãoJosé SaraivaMargarida AzevedoMaria Rui VilarMarta VarzimNathalia MoutinhoOğul GöçmenÖzden Pektas TurgutPelin Öztürk GöçmenRezafar AzadehSigrid BürstmayrStefanie EggerUlrike Brückner\

published and signed textsare of responsibilityof the authors

\ DESIGN and ARTS FOR FUTURE NOW \ - ESAD

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