The situation caused by COVID-19 has shown several vulnerabilities in the attitudes and habits of modern society, inducing the need to adopt new behaviors that will directly impact daily activities. The quickly spreading virus contaminates the surfaces of handles and objects, and subsequent contact with the eyes, nose, or mouth is one of the main contagion factors. There is an urgent need to rethink how we interact with the most-touched surfaces, such as door handles in public places with a high flux of people. A revision was performed of the most-used door handles to develop a proposal that could be applied to already existing models, thus avoiding the need for their total replacement. Through interaction between engineering, design, and ergonomics, an auxiliary hands-free door opener device was developed, following iteration improvement from an initial static geometry and culminating in a dynamic system aiming to provide greater ergonomic comfort in its use. The development followed a methodology using 3D modelling supported by 3D printing of the various components to accurately understand their functioning. In addition, the finite element method supported the prediction of the structural behavior of the developed systems. The final models were produced through CNC machining and submitted to functional validation tests with volunteers. The developed HFDO demonstrated relevant differentiation from the existing models on the market: for its geometry and material, but mainly for its strong emphasis on the interaction between the object and the user, resulting from the dynamic component in its use/manipulation.
The following article describes the ongoing interior design project that accommodates a guesthouse in a historical building located in the city of Coimbra in Portugal. It focuses on the importance of generating new narratives to maintain the original nineteenth century building’s essence, when changing the architectural program, from a pharmacy on the ground floor and residences in the upper floors into a single guesthouse. We present the design-led methodology focused on the importance of generating narratives as a foundation to achieve a common goal while working in a cross-disciplinary team. In this context, the designer not only has the role of the form-giver, but also becomes the mediator between matter and form, the team leader, and the forecaster of the user’s emotional experiences. When adapting client’s brief into a tangible outcome within a team that crosses various areas of expertise (in this case: architecture, design, engineering, archaeology, conservation, and restoration), the importance of generating an open concept that can adapt to the evolving context, becomes key to meet client’s expectations. This article intends to contribute to the discussion of the designer’s elastic mindset as a binding tool between actors and contexts, towards an outcome that acknowledges the importance of the contribution of each one when looking for enriched results. Therefore, it questions what is gained and what is lost by setting aside the classic design fundamental principles and by focusing on design as a managing tool between data and the involved actors for an enriched outcome. As a main conclusion, it underlines the importance of generating a strong narrative with an open outcome to bind all stakeholders to a common goal through the designer as a project leader.
La naturaleza ha estado inevitablemente presente en la evolución humana, definiendo límites, capacidades e imaginación, o en otras palabras, determinando cómo y por qué diseñamos. En este artículo, intentamos ver la naturaleza en sí misma como una narrativa cultural preestablecida (o conjunto de narrativas) y reflexionar sobre cómo estas narrativas influyen en el diseño en dos aspectos muy distintos. La primera mirada es a las narrativas de la naturaleza relacionadas con la poiesis y su potencial para generar referencias emocionales. Mientras que el segundo, se centra en las narrativas de la naturaleza asociadas a su praxis, junto con su referencia procedimental para el diseño, como conclusión buscamos puntos comunes y divergentes entre estos enfoques también con la intención de contribuir a una mejor comprensión de cómo la idea de Naturaleza influye en el diseño.
The following article looks at nature as a cultural pre-set narrative (or set of narratives) and reflects on how it can influence the design process to achieve a concrete result - a product. It describes an ongoing process that intersects intangible (behaviours) and tangible (matter) expressions of nature with the concept of Original-Copy, as the conceptual framework to develop and materialize a lampshade.The inclusion of behaviour patterns presents poetic and imaginative properties to trigger the conceptual phase of a project, while biomatter was chosen to physically materialize the ideas. In this context, the Original-Copy concept works as the archetype on which a new product can be based.The aforementioned approach has been applied and developed through a workshop, which intends to join the three concepts referred to above: behaviours, matter and original-copy.Firstly, a taxonomy of animals´ seduction rituals and courtship behaviours has been developed, which includes various criteria of classification, such as duration, triggers, interaction, or intensity. This taxonomy works as the catalyst of the workshop, to promote imagination and disruption in the design process.In this challenge, the shape of the object is predetermined by an original form (an archetype), in this case, the renowned Constanza lampshade, produced by the Italian brand Luceplan. The poetic dimension is induced by the attempt of translating the patterns of animal mating rituals described in the taxonomy into the characteristics of the biomaterial. The final objective was for the participants to express themselves through the physical dimension (texture, opacity, smell, touch, taste, bias) of created materials, inspired by animal behaviours, and use it to create the reinterpretation of the pre-existing form of the Constanza lampshade.After explaining the workshop methodology, the article presents the main ideas generated. Selected behaviours and the way of their application, composition of the created biomaterials used to materialize the ideas, as well as the final outcomes are described.An important part of the article is the report on the failed attempts of creating the materials and constructing the lampshades, their causes and the impact on the whole process.In the future, further evaluation and development of the proposed approach are anticipated, through the described workshops in different social and geographic contexts. It is awaited the possible creation of collections of other design classics lampshades, based on distinct triggers, for example on endogenous resources, emphasizing different ways how nature can influence design.
The following article describes the ongoing interior design project that accommodates a guesthouse in a historical building located in the city of Coimbra in Portugal. It focuses on the importance of generating new narratives to maintain the original nineteenth century building’s essence, when changing the architectural program, from a pharmacy on the ground floor and residences in the upper floors into a single guesthouse. We present the design-led methodology focused on the importance of generating narratives as a foundation to achieve a common goal while working in a cross-disciplinary team. In this context, the designer not only has the role of the form-giver, but also becomes the mediator between matter and form, the team leader, and the forecaster of the user’s emotional experiences. When adapting client’s brief into a tangible outcome within a team that crosses various areas of expertise (in this case: architecture, design, engineering, archaeology, conservation, and restoration), the importance of generating an open concept that can adapt to the evolving context, becomes key to meet client’s expectations. This article intends to contribute to the discussion of the designer’s elastic mindset as a binding tool between actors and contexts, towards an outcome that acknowledges the importance of the contribution of each one when looking for enriched results. Therefore, it questions what is gained and what is lost by setting aside the classic design fundamental principles and by focusing on design as a managing tool between data and the involved actors for an enriched outcome. As a main conclusion, it underlines the importance of generating a strong narrative with an open outcome to bind all stakeholders to a common goal through the designer as a project leader.
The present paper works on the potential applicability of design The present paper works on the potential applicability of design research based on a practical experience with the Portuguese company Recipor -Recuperação e Valorização de Resíduos (residues recovery and valuation), S.A., who's mission is to collect, metals, with domestic or industrial origins. The ecological appeal, the economical recovery process and the innovation investment corporate identity and in the implementation of design culture and thinking. The empirical search on collecting processes, treatment and application of residues took place at the company's premises.products we developed a quality based methodology study. The results denoted a strong relation between the company's vision, the organizational strategy and the market's affection for recycled products. This triangulation allowed a favourable environment for a temporary inclusion of a design investigating team, and leads to the understanding that, as the high-level project orientations were exposed, the expectation increased and acquired a more instrumental format with strategic effects. Grounded on data from made in collecting and recycling; the birth of a European network this material on artefact production. This project's boundaries were established by practical challenges introduced by the company's direction; namely the optimization of the plastic reel products. The team's proposals were the result of the adopted design process. Categories and Subject Descriptors4. Design culture and thinking in industry (on design culture); 5. Organizing design in industry (on design management and processes).
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